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I still maintain that ‘Acousmatic’ is a nonsense word. Charismatic acoustics? No, can’t be. Automatic acoustics? Are all acoustics automatic? Are none?? Richard Scott promises that this is not a ‘dry, academic exercise’, but I remember that word. The backbone of a frustrating second year lecture. Besides, who said academic exercises can’t be fun?
Several Circles is a somewhat lengthy collection of synth gubbins, the bits of sound that fell out of the holes where the cables are supposed to go when Scott wasn’t looking. At once you’re greeted by the familiarly wild noises of the machines speaking in a language all of their own, ranging from crackles of electricity to singular blops and twinklings. An arpeggio will appear quite suddenly, play a few ‘notes’, then vanish. It’s detailed synth sound arranged in the style of Karlheinz Stockhausen or Pierre Henry, with more than a few electronic snarls to shut Scott’s forebears up forever. It’s fine, Henry is still going, and has a beard that speaks louder than this could ever do.
Apparently half of this is improvised and half is strictly composed, but I’ll personally send you (no) money if you can tell the difference. Several Circles is a hard one to untangle, but the sounds he has made are totally out there, harking back to the days before the DX7 where synths toke you to the far reaches of the cosmos. I just wish that it would jump around so much, but what do I know, I’m listening to synth noise next to a bag of paper.
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