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GUTTERBREAKZ presents ANNEX AUDIO
The idea for this recording project began a couple of months ago, when I discovered a few old cassette tapes stored away in a forgotten box in my garage. The contents of the tapes might be described as 'domestic field recordings'. Recorded by my late father, they document family life in the house that I grew up in during the month of September 1977. There was no script, no 'performance'. It would appear he simply pressed 'record' and let the machine capture the random sounds and conversation that drifted through the house. Why he chose to do this is unknown, and barring a séance, I am unable to ask him about it. But I do know that this was during the period that my parents were on the verge of separation, and perhaps he simply wanted to document something of our life together before it all got torn to pieces. It's a credit to him, my mother and grandmother (who was living with us at the time) that everything appears to be very calm and normal in the house - whatever personal battles were going on between them were presumably suppressed for the benefit of me, their eight-year-old son, who appears to be a happy, boisterous child, oblivious to the impending destruction of our cozy little family unit.
Hearing those tapes for the first time was a headfuck experience - the nearest thing to time travel I'll ever experience. Listening on earphones, I felt like a fly on the wall observing this part of my past that I have only dim memories of. But I don't wish to dwell on that aspect any further - it's private, and after all this is supposed to be about the music, not the mad ravings of a sentimental old fool.
At some point I decided that I'd like to try setting some of these recordings within a musical framework. The direction was never in doubt: it must be haunting, ambient, beat-free, and evocative of the time when the recordings were made. But I didn't want to use any obvious musical quotes, no cheap-shot gimmicky samples or naive melodies. I wanted it very amorphous, merely a suggestion of musical color within a framework of shifting lo-fi texture. And I wanted the dialogue to be indistinct, like it was coming from another room or from the other end of a corridor. I wanted to retain the tape-hiss, random drop-outs, warbles, muffles and flutters of the original tapes, so I mastered all the music on an old, much-used cassette, in the hope of capturing as much 'undesirable' audio degradation as possible. I don't want to go into too much detail about the actual track-building process (which I consider irrelevant) but I will say that there is no proper sequencing involved. The tracks were arranged very loosely using sampled loops. Once I had a basic musical 'sketch', I'd record to cassette modifying the elements in real-time, trying to capture as much spontaneity and unpredictability as possible.
After about a week of fairly intensive late-night recording sessions, I'd created seven pieces with a total running time of just under half an hour. At that point I felt like I'd got something out of my system for the time being and stopped. The first four pieces all feature sounds from my father's tapes. The very first track features a TV newsreader (inadvertently captured in the background - true 'lounge ambiance') reporting on an event which, if you listen closely, will give a clue to the precise date on which it was recorded. Several of the later pieces dispense with my father's recordings, hanging in a pure textural stasis, before reintroducing them towards the end. But the final piece uses dialogue sampled from an old vinyl LP called "Children Talking", which was a spin-off from a popular BBC series that originated on radio in the early sixties. Why? Well, let's just say it has a quality that seemed to resonate with the overall mood of the project.
My Modyfier submission is the contents of the 30 minute cassette master in its entirety, without any additional digital nips or tucks. It's a very personal project and I'm quite pleased with this first volume, though whether it has the power to touch anyone else's soul remains to be seen, as I haven't played this to anyone before. My hope is that it will at least induce a state of reverie within the listener, and perhaps direct their thoughts and feelings towards their own near-forgotten childhood experiences.
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POPNONAME
This mix presents my new Popnoname album, "Surrounded by Weather" which will be released October 20 on Italic (in Japan on Fountain Music). When I play live, I take samples or full songs from the album and similarly, this mix does that, too. There are also some remixes of the album tracks. Pinto (Guadalajara, Mexico) remixed the track 2012, and I used the beat from the STORM remix, made by DJ Pici (Thessaloniki, Greece). The first remixes, which will be released in October, are from The Field (Stockholm, Sweden) and Tennishero (Goeteburg, Sweden). It`s a global world and I`m so happy to work together with all these people...all these artists from different parts of the world! Enjoy the mix!
01. Storm (Surrounded by Weather) live edit + the beat of DJ Pici (greece)
02. Perspective (Surrounded by Weather)
03. Id-Card (Surrounded by Weather) live edit
04. 2012 (Surrounded by Weather) Pinto remix (mexico)
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SUZ
I am a writer of the moment. I compose for a current state. I am also a communicator. I live for the exchange of knowledge, and thrive off of experience. I run on emotion. I dive into all extremes, but close my day at the foothold of balance. I’m deeply affected by pain and suffering in the world, therefore I strive to embrace beauty found all around me, and from what I do absorb; I try to cast out for others to embrace. I appreciate glints in eyes, smiles from strangers, and courteous drivers on the road. I believe that the very notion of feeling is simply the greatest reward we have been given; to not dive into it would be ludicrous. Where I feel the most, lies in the hands of music.
While emotions can sometimes be hard to describe verbally, a sound can easily paint a picture of what transcends from the core. Sound has the powerful ability to communicate inner meaning with very little confusion. You do not have to struggle to find that one precise word to articulate all thought. Words can narrow the potential of accuracy and subjectivity. Sound bypasses all of the nonsense, and goes straight to the root of comprehension. While one word can describe only one feeling, one simple sound can describe a lifetime of experiences.
In day-to-day life, it seems emotion has a specific formula to how and when it’s appropriate to express. When we find ourselves in a heated debate, we’re told to put our emotions behind us, and to use logic to work out our turmoil. How many times have we been told to “cool off,” “calm down,” and “think straight?” Wouldn’t it be nice for once to view emotion as the positive conductor in communication? Well, music might be the only thing that challenges the advice given by Mr. and Mrs. Ph.D. I believe that music first utilizes emotion, and it is that very same emotion that creates a global understanding. Emotion --> logic. Movies and television even exemplify this, by “breaking out in song” each time a topic needs to be thoroughly understood. Soft melodies (albeit cheesy) accompany Mr. So-And-So as he explains to his daughter how driving the car through the kitchen window was a bad thing. Children’s television shows are mainly compromised of song, with aim to make learning both fun and effective. Whatever the case may be (extreme or not), it seems we just “get it” much more when things exist in song. It’s rather sad that we live in a world where we are pressured to always think logically and to always be diplomatic and politically correct -- shirts tucked in and hair properly combed. Perhaps this is why music is such a celebrated factor in life. It’s finally a place where we can let our hair down, undo our belts, and let the f*ck go!
This is why I turn to music. It’s where things make the most sense in this overwhelming world. Where I feel my best, where I feel most understood, and where I feel balanced. It’s freedom. It’s home to me. Music is the root of all connection, and it summons all possibility. Its power touches us with no physicality. It moves us with no tangible push. It’s etched into our blueprints from before birth, and we carry it through our lives well onto the next. Remember: Music is processed by the very same part of the brain that processes emotion; therefore it’s synonymous to love, as love is the most profound emotion -- and it is the reason we’re all still here.
We are music. Humans are attracted to patterns because we are patterns. Our heartbeat indicates our body’s current state. Like sound, we reverberate on sequenced platforms, and become molded by our environment. We gravitate to likeness, while we are also mystically drawn to the unknown. We seek harmony for inner peace, and balance for tranquility. As we may not achieve this consistently in our physical world (in our work, friendships, families and even in our own monkey minds) -- we have the possibility to live for one particular idealistic moment in music. We can replay a harmony as much as we desire -- escaping, dreaming, and believing. While we cannot control the world around us, music actually throws its arms up in the air and says: “Hey, manipulate me!!” We can do anything we want to it, and the outcome is beautiful. (Now apply this manipulation logic to your current partner, and I doubt the outcome would be viewed the same).
It is through music where we have the chance to express ourselves to our fullest potential. Let’s utilize it to achieve understanding and to build communities. Let’s open doors to the unknown by creating and recreating every single day. Let’s share what we believe to be aurally inspiring or simply, what tickles our fancy. Let’s keep on growing and evolving by pushing our limits through expression and reinterpretation. There is never a finale when it comes to music; one note can reverberate forever just as long as we never stop humming it.
Whew! So after all of that, I’ll finally get to the point!
This mix was already featured a few months ago by Fwd.dj, but I only had a small paragraph to describe the meaning behind it. I want to thank Rayna for agreeing to re-feature it, for you might hear it differently the second time around. The title of the mix could be “reinterpretation,” or “falling in love,” and in lieu of the title, I’m hoping you do just that.
To get the technical babble out of the way, I will mention now that it was recorded in Traktor 3, utilizing 4 decks, looping and layering throughout its entirety. I have been performing in this fashion for over a year now, and I find it allows me to move through my creative process focusing more on emotion rather than on technical details. You really lose yourself performing this way, and to me, that’s what it’s all about. It’s not about wowing people… it’s about connecting with them.
I recorded this mix in my very own bedroom/studio. It was me against the sound, with no other external influences. As you probably guessed after reading my emotional babble up above, this mix was formulated entirely on emotion. Although there are many technical aspects to its assembly, I find once I reach a certain climax, I no longer need to think mathematically, and much like sex – although performing a utilitarian function – you allow your emotions to guide your movements without having to think step by step of what you are doing (ohhhhhhh kay, now insert body part 1 into body part 2 and repeat, repeat, repeat – haha).
Why this mix is so emotional to me is because of the feelings I harbored during its recording. It was a hot summer day. My studio has two large windows and in each, the sun glimmered through casting the shadows of the trees on the walls. The air was fresh, and it delivered the scent of fresh cut grass. Immediately I wanted to record. The songs chosen were all gentle on the soul. While the mix remains rhythmic, the airy and whimsical components soften out its edges painting a picture of what love would look like in my mind. The BPM was taken down a few notches to demonstrate the gradual and paced movements during human interaction, ie: falling in love, or making love. You know -- when you don’t want to move too fast because you could skip over some small yet beautiful detail, or if you extend the focus on one simple feeling or body part, the pleasure is increased 10 fold. You also don’t want to move too slowly, because a climax needs to be built, and you have to have some momentum going on to achieve that. Again, it’s about balance.
This mix was also about textures, layers, and progression. Each sound moved into the next like they were made for each other -- as if the sound would have remained idle without the other’s help. There were no abrupt positional changes, rather more fluid transitions. Where some of the songs lacked in certain components, the other(s) added a unique quality taking the compositions to another level. Like they say: “Two heads are better than one,” and in this case (two, three, four) tracks are better than one.
One of the ultimate questions in life aside from “Why are we here?” is, “What is your definition of love?” I hope that after you hear this mix, you will know exactly what makes my toes curl, my eyes bright, and what causes me to smile from ear to ear. My idea of love is not about perfection, but it’s about an ideal – and we should strive to reach those endlessly.
01. Tom Ellis - AKA ft Suz [CDR]
02. Leif - Ohnh [Fear of Flying]
03. Von Haugwitz - The Other Man [Seta]
04. Loco Dice - How Do I Know [Desolat]
05. Christian Burkhardt - Doubledub [Raum]
06. Rick Wade - Prime Expansion [Yore]
07. Milton Jackson - Ghosts In My Machine [Freerange]
08. Dj Stax - Str8 Nasty [Classic]
09. Luke Hess - Omnipresent (Myers Briggs Rmx) [Beretta Grey]
10. Subb an - Moscow Fighting [Immigrant]
11. Adam S, Chris Special - Go Deep [Toolroom]
12. Tbbros - Olah [Klangscheiben]
13. Einmusik, Stimming - Madeleine [Dynamic]
14. Sven UK, Andomat 3000 - Sui Generis [Cecille]
15. Sety - Mogane [Circus Company]
16. Joeski - All By Myself [Dutchie Music]
17. After Tea - A Most Beautiful Day [Hotfingers]
18. John Smorto - S-Factor [Minisketch]
19. After Tea - 4 Minutes [Hotfingers]
20. Melt - Quantum Process [Telepathy Digital]
21. Ivan I, Jason Howell - Funky Moves [Tarantic]
22. Tom Ellis - We Like Funk ft Suz [Musique Risquée]
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KATE SIMKO
Composing the score for The Atom Smashers
Last fall I composed a feature-length film score for the first time called The Atom Smashers. The film is a documentary about scientists at the Fermilab, particle physics, and the decline in scientific research in the United States. This is an exciting time in Physics; the general consensus is that scientists are on the cusp of discovering a new theoretical particle, which they are calling the Higgs Boson. The discovery of the Higgs could change our understanding of the composition of the universe and perhaps unlock mysteries of the Big Bang theory.
The Atom Smashers peeks into the work and lives of a group of scientists at the Fermi Lab, the sole particle accelerator facility (called the Tevatron) in the United States, located in Batavia, IL. For decades the Fermilab touted the largest and most powerful particle accelerator in the world. However, last week marked the opening of CERN, the European particle-physics laboratory in Switzerland whose particle accelerator is much more powerful. If the Higgs Boson does exist it will most likely be discovered at CERN, although Fermilab scientists were still optimistic at the time of The Atom Smashers filming a couple years ago.
The process of composing the score for The Atom Smashers began by examining the temp music and brainstorming ideas with Clayton Brown, one of the film's directors. The temp music Clayton chose was mostly Jan Jelinek and Sufjan Stevens, both very tasteful composers. It was an exciting challenge to create music in this vein.
Clayton and I went through the scenes in the film together and he provided poignant adjectives to describe the mood in each scene. For example, one of my favorite compositions, which we called "Tevatron Dream," was described by Clayton as, "the tevetron having a dream. slightly surreal; waiting, peaceful intermission; rye sense of humor, dreamy, wink in eye, half asleep, kicking back, relaxing after hard work; not dark, emotionally neutral." After understanding the underlying mood in each scene, I started collecting timbres, textures, and modeling synths that I thought might fit. In the end I used quite a bit of highly-effected acoustic accordion samples to create a lush, gritty feel.
The final edit of the film has nineteen musical cues, each reflecting the subtleties of each scene. The composition I'm going to share is called "Spiritual Airport." It's a somber moment in the film when a physicist from Fermilab is waiting for his wife at the airport. He talks about how scientists in the United States are concerned that there will be no high energy particles being produced in the United States after 2009. Funding has been cut drastically at Fermilab and the entire facility is set to be shut down in 2010. In a moment of self-reflection, the scientist explains that he sees physics research as a continuation of the main line of rational thought that started in Greece 2500 years ago. He sees research at Fermilab as the extension of humankind searching for answers - looking for the truth.
The music in this scene reflects the organic feel of nature, randomness of the universe, and the human emotions of the physicist. It's an attempt to portray, as Clayton put it, "The spiritual side of the Higgs."
More information on The Atom Smashers is available on their website.
The film will air on PBS national television November 25, 2008.
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EMANUELE DE RAYMONDI
While browsing around archive.org, I came across a recording of a conversation between John Cage and Morton Feldman, which was originally part of a "radio happening" event at WBAI in New York on October 24, 1967. It sounded like an informal and relaxed exchange of ideas between two old friends and I was immediately mesmerized by the sound and tone of their voices, the pace, silences, the sound of breathing, smoking, laughter...
The "musical" aspect of the tape was even more magical and fascinating to me than the contents of the conversation, which as I expected from years of reading both men's writings, are deep and insightful ideas about music, art, philosophy and society. Yet was the soundscape created by this particular human interaction that really fascinated me. I decided to use sound bites of the conversation as the basic material of the piece I was invited to submit for the process series.
I love the sound and rhythm of speech and how each language has it's own particular acoustical characteristics. The English language, because of the irregular durations of its successive syllables, has a certain "syncopated" feel about it which I always found very musical. In this case, I also liked the contrast between the two styles of speaking: Feldman is loud, emphatic, declamatory (what a huge contrast with his music!), while Cage is soft, almost monotone with few, carefully placed accents.
I began by overlapping some fragments of spoken voice with different musical ideas, focusing on the temporal dimension: durations of events unfolding in time, levels of periodicity, static and dynamic moments, expansion/compression. Most importantly, working on the silences or "spaces between" (ma), trying to challenge the listener's perception of musical time while at the same time trying to "accept" the beauty of the sounds rather than forcing them into some preconceived, abstract structural framework.
The music part came from digitally processing/molding an acoustic piece that I wrote and recorded a few years ago for piano, classical and electric guitars, viola da gamba and soprano saxophone.
At times, with its non-periodic rhythms, the music attempts to imitate speech (although, in the field of perception, the rhythms employed in the music part are statistical, therefore unpredictable, while speech always retains a certain degree of predictability in its temporal patterns). Other times, periodic rhythms (chronometric time) come to the foreground and become clearly perceivable, often because of the use of short loops. Between these two extremes, there are several intermediate areas of temporal ambiguity, as in the case of polymetric and polytempo passages.
As a metaphor for the overall form of the piece, one could imagine the spoken voices as characters on a journey across different musical regions, or states. The music, like a landscape, changes...sometimes gradually, other times abruptly in the background. On the journey the landscape helps the characters reveal their own inner melody.
The spoken words, separated from their original context, lose their literal meaning. Will the listener give his own semantic interpretation, or leave them "free of meaning", as pure sound?
As Edgar Varese said: "The last word is imagination!"
In the end, I also like to think of this piece as my humble, and somewhat nostalgic, tribute to John Cage and Morton Feldman, two giants of 20th century music, whose vision continues to be a source of inspiration and enlightenment well into the present.
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UNAI
I am an easily bored person. I am also burdened by a deep love for concepts and ideas. Two sides of my personality that don’t always marry very well. This has led me to a very controlled modus operandi when doing new music of my own. I work out a framework before I start, just so that my mind won’t travel too far off into a different universe altogether. From the outside this often seems like “leaps in sound” in my output. This is however not the case. It is in the things that I produce in between that the experiments and ventures into unknown terrain often take place. Then I apply what I think is good into my own productions. It is in these works that my gradual evolution in sound can be heard most easily. Here, I therefore present a mix of remixes made between early 2007 up until just recently. The order is strictly chronological. There are no effects or anything put on top, just a straight line of remixes showing the ebbs and flows of my inspiration and what that might lead to.
01. Martin Brodin – Semitone Shuffle (Unai Remiks)
02. Soultek – Lonely World (Unai Remiks)
03. Differnet – Patterns of Parklands (Unai Remiks)
04. Vibrasphere – Seven Days to Daylight (Unai Remiks)
05. Crystal Fake – Monday After (Unai Remiks)
06. Swiss Boarding School – Brown Coal Mines (Unai Remiks)
07. Bodies Without Organs – The Destiny of Love (Unai Remiks)
08. Drei Farben House – Looking Back to Control (Unai Remiks) (Excerpt)
09. Aoo&ooA – The flying House (Unai Remiks)
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STEFNY WINTER
Some mixes come together quickly, but this one took months -- I kept starting it over and over for my mood would change and wanting it to be just right. I hope what finally emerged is my diamond pressed out of black coal, something that is as special to everyone as it is to me. I really wanted all of the tracks to speak to each other and to take the listener on the same journey that making it took me. When I finally found the last track to bring it to a close, I could see the pieces falling into place like a puzzle.
This mix bares my sweat, almost literally. As I was finishing it, I was working in my new windowless studio far back in a large loft space in Williamsburg, Brooklyn where I could never really tell if it was day or night. I struggled to even work and breathe in it during the humid hot summer days. Working there in 'my cave' I felt very secluded from the rest of the world, but cozy in a way. It was the space in which I could lose myself and forget about everything else. Hence the title of my mix: I wanted to recreate the cave-like feeling by putting together something deep, dark, sexy, funky, layered with lots of textures, something you could enjoy listening to anywhere day or night, that would make you close your eyes and get lost in the sounds' rhythm.
I love music that has original sound design within it, that is abstract but that also uses dubby synths, is melodic and never loses its sensibility. All of these artists' music is inspiring to me -- within this mix there are 28 tracks in one hour and sometimes I have 4-5 tracks going at the same time. This became an experience. I really got lost in them. They're heady and put me in a zone. I can see each sound bouncing off each other and at some indefinable point I begin dancing inside my own head and I can visualize it as if I'm really dancing. I hope it will make you do the same, wherever you are -- inside your head, inside your cave, or out.
01. rico casazza / supernova / archipel
02. p.toile / piano piano / mothership
03. so inagwa / guhon / tougo ep
04. polder / tofudog / intacto records
05. cesare vs. disorder and rudolf / burludos / archipel
06. ryo murakami / down the sky / poker flat
07. hearthrob / heading for a heartbreak / dear painter paint me album / minus
08. johnny d / delete remix / soleil / safari electronique
09. guido schneider / as dry as i can / poker flat
10. ion ludwig / the manipulator of / respoal red
11. agnes / p-style / minibar
12. prompt / elephant / taboom
13. martin donath / tim xavier remix / abstract factory / rotary cocktail
14. frank bretschneider / dj tool / assignment 3 / archipel
15. ion ludwig / dermarage / calendars ep
16. bleupulp / dj tool / assignment 3 / archipel
17. kate simko / toolbeat / assignment 3 / archipel
18. paco osuna / breath / orbeat e
19. dj sossa / david squillace remix / jurassic / vinyl club
20. anthony collins / rabouine house / freak n' chic
21. lemos / who do you believe in / cecille numbers
22. dewalta / farina
23. ralph sliwinski / johnny d remix / pox box / sushitech
24. shlomi aber / tokyo shanghi / ovum
25. alexi delano / two stops in williamsburg / clink
26. pheek / mike shannon remix / magda had a little troll / clever music
27. isomer transition / parametric pressure / archipel
28. mathias kaden / rhythma / vakant
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HEMIPTERA
Laika in Ithaca turned us on to NY’s Radiolab podcast – a series that deals with music and psychology and language, ie: the way words have a direct relation to music. One segment looks at the research of University of California psychologist Diana Deutch on musical language, aka words and languages that end up sounding like perfectly pitched songs.
Ever heard your loops sing back to you? At about minute 5 into the accompanying Live PA “Neuro-Pelvic” you can almost make out the words “I…CAN’T…GET…A…SOUL” crying out from the track. It’s as almost if a phantom has emerged from the twisted code, created through a series of accidental sound manipulation -- and banned from re-animation by the plastic barrier separating it from me.
But is the music getting under our skin anyway? And where in the heavens is it coming from?
Another Radiolab episode examines why some sounds give us pleasure whereas others make us uncomfortable and how some, well…kind of grow on us. Take Stravinsky. One summer audiences protesting in the streets with their ears covered against his clashing ostinati, the next year, he’s lauded as a cultural hero.
The same goes for those generational turning points in which music was the lynchpin, from Rock to Disco to Techno and the accompanying technologies used: from guitars and amps to software and midi controllers. Our parents hate it. A few of us love it. Then bunch of them love it. Then our parents love it. We hate it. We move on, and so on.
In the war between culture and biology, I tend to agree wholeheartedly with the Radiolab producers that culture does, generally win. I think this is why younger generations gravitate toward sounds those who came before them generally are predisposed to hate.
Why that is, according to some neurologists, is because the ears and those neural pathways to the brain become trained with experience. Over time and through cellular will, our brains and bodies accept these new, unfamiliar sounds, and eventually enjoy them. Perhaps we even begin to crave them over time in order to sustain a preferred set of neuro-chemical transactions.
“I think it's much deeper than whether or not we simply 'like a sound'. It’s how it impacts our very biology,” wrote back Larry Delaney, aka my stepdad in recent email exchange on the topic.
Given his role in launching the ginormous success that was The Beatles in the early 60’s, he should know. He confirmed my own belief that music enhances not only the mood around us but…well, us!
Larry Delaney writes:
“I think sound...tones individually or in harmony with other tones, physically vibrate atoms that comprise our being. Tones resonate to when our 'atoms' had not coalesced into our being. Therefore, they are imprinted in our primordial DNA -- our atoms.”
“Atoms are supposedly in a constant state of vibration. I think their constant vibration must cause sounds. Like those magical delicate cymbals in an Indian temple. Atoms must live in a world of sound. A constant state. Maybe it's their sexual pleasure. They carry that with them when they become....us.”
“Your atoms are more newly coalesced into your being than mine. You had more time in the ethers. Your atoms had more time to listen to, or create different universal sounds than my generation…” that which was fed on the likes of Elvis, Buddy Holly, and the like.
And this generation, having gone primarily the direction of electronically-generated sounds, understands that “techno” (meaning technologically manipulated sounds to make music) carries its own language, symbolic imprint or energetic pattern that is mostly defined by the technology used.
That’s the medium. Now the message: the particular style or sound combinations are result of osmosis – years of absorbing a variety of sounds and percussive styles, sounds of nature and filtered through our subconscious.
The output is partially a conscious effort -- but I wonder sometimes if it is more left to synchromysticism -- a condition in which strange clues from the unknown pop into audible existence.
As music works its way into our personal, cultural and social DNA, manipulated through our use of technology, many of us try to talk about the process behind making electronic “dance” music, what it sounds like, or what genre or subgenre it falls into. We mostly fail miserably at it – for we only scratch the surface of what those atoms are actually doing.
Maybe at this point in our technological and creative evolution, it’s time for us as humans to shut up, listen and let the code phantoms in the machine do all the talking.
But putting us human music makers aside for a moment, let’s go even deeper, into the music of nature, from the way the wind rustles the trees to the way the Hemipterae, or true bugs, call each other to mate.
Maybe all the heavens and all their celestial bodies are ‘tone makers’ who, like a humpback whale, orbited around the universe singing to each other. In other words, a civilization of their own based on elements other than 'carbon based units', unrecognizable to us.
As the entire universe is made up of basic atoms, the same atoms that form our bodies, we are part of a universe made up of tones/songs, or music if you will. A constant chorus of songs that permeate us all...once we learn to listen for their tune.
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