CD – Grain Of Sound
If the first excitements about the laptop music’s novelties are already gone, time has come now to start to question more in depth the specific intrinsic characteristics of these practices, thinking about their philosophy, stimuli and perspectives. These kind of considerations are really not unfamiliar toPedro Tudela and Miguel Carvalhais. They are notably rich in the theoretical transition from the concept of a music still rooted in the traditional musical instruments evolution/emulation (including the early analog/electronic ones) to a more mature and rigorous approach that focus on the immaterial data manipulation (the obtained computer files), defining it as a new starting point for a new era of congruous experiments. This evidence shows itself through the crystalline quality of sounds and the overleaf notes, underlined with names and extensions of the single generated elements. It’s a union of techniques, media and allocations strictly related to the objective essence of music composition. This union produces iteration’s offshoot, elaborated with variations, researching the manipulation that generates harmonies and nice dissonances in a new form. They are ‘performing’ intuitions, organizing the imponderable in a kind of ‘stage writing’ that in its theoretical assumptions establishes a need for a confrontation with (and also a support from) the live dimension. Brilliant algorithms and very human wisdom are describing the same old art, amazing the listener with the emotions that they are intimately able to trigger.