“Unpredictable and unknowable sound” is the target of this project by Yasuano Tone, one time active 1960′s Fluxus movement proponent. If you would prefer music which is unable to be comprehended and consider it a positive virtue by manner of the inability to confine the expression to any particular encoded language or style of expression then suck on this planet of noise. Which is fairly much to say that it is not organised in a familiar manner, rather Yasuano Tone, in conjunction with a team of the New Aesthetics in Computer Music (NACM) led by Tony Myatt at Music Research Center at the University of York, presents the results of their research. It is based on the idea of disruption of the MP3 by use of software the collaboration developed to create an intervention between the main elements of the MP3, the compression encoder and decoder. Initial results were unsatisfactory but resulted in being able to identify error messages and assign the errors as samples for playback automatically at differing speeds with other effects added including phase inversion alternation with certain lengths of frequency ranges and stereo channel flipping. The software has been used in live performance by Yasuano Tone in Kyoto, New York and Vienna and these two pieces ‘#6′ (30:36) and ‘#7′ (22:15) are the lengthy fruits of New York sessions.
Suffice to say that it is akin to glitch on steroids without the inclination towards beat structures. It could be also described by analogy as the imagined alien communication transmissions, but I digress into fictions that have already been presented in electronic music. Indeed such fanciful packaging disguises the tool as other, whereas the point is to present “unpredictable and unknowable sound” and a better manner of presenting a description to you may be with a manual for the software and an academic dissertation in regards to the intent and results. Neither of which I have handy.