# The voice on the other end didn't reply. Listening intently, Goody thought he heard the dissonant creaking of bedsprings and, beyond that, tinny laughter from a television set in another room and, further even than that, a sound like an ocean’s constant breaking against the shore. He thought it might be the sound of the phone company itself he was hearing, its thousands of miles of relays and conductors, transformers and line, wires strung on poles across the countryside, switching networks in cavernous buildings, all waiting for him to speak, or on the one whom he had reached. # Was den Weltstadtmenschen unfähig macht, auf einem anderen als diesem künstlichen Boden zu leben, ist das Zurücktreten des kosmischen Taktes in seinem Dasein, während die Spannungen des Wachseins immer gefährlicher werden. # Oder z.B. bei der sogenannten Kochkurve, die aus einer Linie bzw. Kurve besteht, die immer feiner und vertrackter wird. Sie tendiert zu unendlichen Feinheiten, und was man am Anfang noch als zweidimensionale Kurve ansah, geht an bestimmten Punkten – wo es sehr schwer zu unterscheiden ist – schon in die dritte Dimension. # There were toasts of champagne and we played lots of waltzes and romantic dance music, while the lights from the chandeliers reflected in all the mirrors and the whole room seemed to sparkle and glow. # Des Traumwandlers krankhafter Drang zu hohen Absprungstellen ist allbekannt. Aber wir wollen diesen sterilen Manierismus entlarven. # Der größte Komponist unserer Zeit ist das Contergankind. # Das Verhältnis zur Moderne hat aber Schlüsselcharakter fürs musikalische Bewußtsein nicht, weil das Neue eo ipso gut und das Alte eo ipso schlecht wäre, sondern weil genuine Musikalität, die spontane Beziehung zur Sache, in der Fähigkeit gründet, Erfahrungen zu machen. # In 14 Tagen ist es unwichtig, welcher Tradition ein gestern ausgeführtes Stück huldigte bzw. fernstand: dann wissen wir, ob wir die Musik memorieren können bzw. wollen. Und zwar nicht ihre hervorstechenden Merkmale, sondern ihre Aura, die uns entweder noch besitzt oder bereits verlassen hat. # Thanks to the concise melodic charm of the Trois Gymnopédies, his best known piano work, Satie has been embraced by advertising, his first Gymnopédie used in television commercials for Cadbury’s chocolate and Strepsils throat lozenges. # At a deeper level his attention to the upper and lower fringes of audibility suggests a farther interest in exploring the two fundamental frequency areas of human consciousness: the hiss of the nervous system and the thump of the heart.
#Theodor W. Adorno: Einleitung in die Musiksoziologie. Frankfurt/Main: Suhrkamp, 1962
#Pinckney Benedict: Dogs Of God. New York: Doubleday, 1994
#Joseph Beuys: ca. 1966, in Arena, Tafel #68b
#Pierre Boulez: Werkstatt-Texte. Frankfurt/Berlin/Wien: Ullstein, 1972
#György Ligeti: Interview. München: 59 to 1, Jan/Feb, 1989
#Robin Maconie: The Works of Stockhausen. London, New York, Toronto: Oxford University Press, 1976
#Wolfgang Rihm: Der Komponist Wolfgang Rihm. Frankfurt/Mainz: Alte Oper Frankfurt und B. Schotts Söhne, 1985
#Oswald Spengler: Der Untergang des Abendlandes. München: C.H. Beck’sche Verlagsbuchhandlung, 1923
#David Toop: Ocean of Sound. London/New York: Serpent’s Tail, 1995
#Lawrence Welk (w/ Bernice McGeehan): Wunnerful, Wunnerful!, The Autobiography of Lawrence Welk. Englewood Cliffs, N.J.: Prentice-Hall, 1971
credits
released July 5, 2016
Composed by Marc Behrens 1994. Quotation sampling by Walter Hartmann (b-deck.net). Acknowledgements: Felix Kubin, Jörg Eberle, Florian Schmitt, Peter Wiessenthaner.
The original title of this work was «Spektren – Die Ästhetik der Zensur» (Piano 01–03, Violin 01–03, Harpsichord 01–02). Tracks 2, 3, 4, 5, 7 originally released on the vinyl LP «Lecture Feedback/Source Feedback/The Aesthetics Of Censorship» by Wachsender Prozess, 2000.
This remastered edition Availabel ala014, 2016.
Marc Behrens works with electronic and concrete music, installation, performance, photography, text and video. He exhibited
artworks or performed in many European countries, in South Africa, Chile, USA, Japan, China, Taiwan, Malaysia, Australia, Israel and Palestine. Since 1989 Behrens has released more than 30 music albums. He founded Availabel in 2014....more
supported by 5 fans who also own “The Aesthetics of Censorship”
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