Album "Auditory Art For Visual Arts"

Notes On Album "Auditory Art For Visual Arts" 

The FURICO Music Team - Music Works · Auditory Art For Visual Arts

1. Auditorily In The Mirror
2. Mutation
3. Artless (featuring The Windscale Blues Experiment)
4. Unloosed
5. Bass Sextet
6. This Life Is Just A State Of Mind (featuring STONERJAZZ)
7. Parallel
8. Underground
9. Undertones
10. Theatrically In The Mirror
11. Etching

(TM writes:)

The series of "Auditory Art For Visual Arts" is being made to create more music for visual artworks. The music can be used in any way: as a background music for some video art, or just to get inspired by listening to it during the production.

Some of the best examples include Wassily Kandinsky and Paul Klee, who created many works inspired by music. Like those artists made, innovation is often generated by synthesis or combination between different domains.

Yet, this album has been made so that the audience can have fun without associated visual artworks, having many auditory tricks.

Concept of Minimal on Basso Continuo

(TM writes:)

The tracks in this series are based on the concept of “minimal on basso continuo*” (MBC) in common. Minimal music tends to have a middle- or high-ranged tones as the repeating phrase. What if minimal music is made with low-tone minimal phrases? That was the starting point of this series.

(*TI talks about basso continuo in the notes on "This Life Is Just A State Of Mind (featuring STONERJAZZ).")

In fact, the very first track under such a concept is "North At Defining Moments" (released in July 2022) in the album "The Anomalous Folk." We found it very interesting and are trying to develop another album.

The track called "Mutation" is a spin-off directly from that track, which is positioned as the starting point. The next step was to develop two platforms using the MBC concept as I imagined it was suitable for collaboration with music artists. Those platforms turned out to be the works called "This Life Is Just A State Of Mind (featuring STONERJAZZ)" as well as "Artless (featuring The Windscale Blues Experiment)." 

Then, we developed the concept itself; "Bass Sextet" is one example. The reversely played phrase in "Artless" became a clue for all-symmetrically-structured "In The Mirror", for which there are three versions: "Auditorily In The Mirror", "Lyrically In The Mirror", "Theatrically In The Mirror." The trigger to my first composition of those pieces was Maurits Escher. But out of the three, "Lyrically..." is excluded in the album because the first half of the track is made with antiphase, which could cause us to be prosecuted by mistake!

The concept was developed in a different way in "Unloosed" as well as "Parallel." I designed what sounds on the right and left as separate parts but the whole sounds the continuity; in other words we made a "stereo play" there.

Other "auditory plays" shows polyrhythmic 5-4 groove with extremely low sound and pursuing the beauty of gimmicky pianos and MBS in "Underground" and "Undertones" respectively. We wrote notes on the tracks one by one (linked in the list above.) 

To me, at least, this series seems to stimulate artistic images, hopefully for various visual artists**.

** If you are one of those interested in using our music in any way, it would be our honour that you could contact us via Facebook Messenger, X direct message or here (at "post your comment" below). 

"Lots lots more, I love designing and programming..."

(TM continues:)

On making this album, I especially feel FMT make tracks at a very fast pace. I write so many pieces on the notation software and TI develops them into tracks so quickly. That's hugely because we are making music all-digitally. If we made composition, arrangement and recording with tangible instruments, the production speed would be tripled or even more, I guess. We are that quick because I just write data directly (without using instruments) while TI arranges, makes sounds, mixes and masters just on his single PC.

For example, as for the track "Underground", I first wrote some little piece in just one day or two in April 2022. Thereafter, I sometimes opened the file, thought what to do with it, and just closed it... In July I found the piece suitable for this series and spent 3-4 days to develop it into nearly one track. Just one day after I sent the file to TI, he made a first-cut WAV file, which I thought was 80% complete. Its track data tells it took 3 months or so, but it did a week or two actually. In "full hours"? I don't know... 20 hours in total or something like that. It's nothing but FMT's way but I've just found it weirdly fast!

In effect I haven't touched any real instrument for long... That fact makes me think what "playing an instrument" is; if you programme a violin phrase for instance, it means enough that you play something, though that's different from really playing a violin, of course.

I like playing instruments but lots lots more, I love designing and programming, in other words, playing them without really playing them. I was going to say "... without moving my body" but it's wrong since I operate the PC keyboard and touchpad. Are simultaneous inputs and outputs required? But strictly speaking, there are many cases outputs are delayed from inputs. Or you can say DJs are players.

Anyway, I'd like you to enjoy music composed, arranged, played and recorded without touching any instrument except computers and guest artists' performances. That must make some differences from "tangible" music. 

Having created such music with a lot of auditory tricks, which would be too difficult to realise with tangible music, I strongly believe this album is one style to show one of the most significant values digital music can offer you.