# More Weird Crap that only a handful of people will enjoy.



## Iforgotmypassword

This is my latest work.

It goes well with a cup of coffee or tea, a pair of good headphones and a dark room.


----------



## Philip

Iforgotmypassword said:


> It goes well with a cup of coffee or tea, a pair of good headphones and a dark room.


word ......


----------



## ComposerOfAvantGarde

That made my brain throb. I love it.


----------



## Iforgotmypassword

ComposerOfAvantGarde said:


> That made my brain throb. I love it.


Great man! I'm glad you liked.


----------



## Philip

i can't improvise..


----------



## ComposerOfAvantGarde

Philip said:


> i can't improvise..


You should see me improvise atonal waltzes on the piano.


----------



## Kopachris

Musique concrète


----------



## Iforgotmypassword

Philip said:


> i can't improvise..


Sure you can. You've just got to start off with one note and end with one. 
Start out playing simple notes along with the radio or a friend. It doesn't have to be impressive or anything, just get your brain working in that way and soon you'll feel a lot more comfortable improvising. I started out making up harmonies to twinkle twinkle little star.


----------



## Romantic Geek

Couldn't listen to it all (because I have a super early flight tomorrow) but I liked what I heard in the first 8 minutes


----------



## Iforgotmypassword

Romantic Geek said:


> Couldn't listen to it all (because I have a super early flight tomorrow) but I liked what I heard in the first 8 minutes


Thanks bud! Let me know what you think when you get a chance to finish it.


----------



## Couchie

This is musical diarrhea.


----------



## ComposerOfAvantGarde

Couchie said:


> This is musical diarrhea.


You're too limited in your listening to understand great twenty-first century art.


----------



## Couchie

ComposerOfAvantGarde said:


> Your too limited in your listening to understand great twenty-first century art.


You have thrown the baby out with the bathwater and sacrificed discerning taste for being a avant-garde *****.


----------



## ComposerOfAvantGarde

Couchie said:


> You have thrown the baby out with the bathwater and sacrificed discerning taste for being a avant-garde *****.


I listened to Die Walküre today. It is better than anything Boulez ever wrote.


----------



## Iforgotmypassword

Couchie said:


> This is musical diarrhea.


Ah, well I appreciate your well thought out critique.


----------



## Couchie

Iforgotmypassword said:


> Ah, well I appreciate your well thought out critique.


In my defence, the foreword to the piece is "More Weird Crap that only a handful of people will enjoy"


----------



## ComposerOfAvantGarde

Couchie said:


> In my defence, the foreword to the piece is "More Weird Crap that only a handful of people will enjoy"


Then what's the point of you commenting on the work anyway?


----------



## Couchie

ComposerOfAvantGarde said:


> Then what's the point of you commenting on the work anyway?


I seldom concern myself with points.


----------



## ComposerOfAvantGarde

Couchie said:


> I seldom concern myself with points.


I always like reading your opinions, even if they are pointless.


----------



## Iforgotmypassword

Couchie said:


> In my defence, the foreword to the piece is "More Weird Crap that only a handful of people will enjoy"


I suppose I could have entitled it "A composition that I have invested a good deal of time, energy and emotion into and am a bit hesitant to post due to it's unconventional nature, but I will anyway because I am human and still seek the solace of acceptance and the confidence that a mutual appreciation of my work generates and am assuming that there are at least a couple of like-minded musicians/music lovers on this site who might provide me with that confidence or at very least some good sturdy constructive criticism"... but that just seems a bit wordy.


----------



## Couchie

I don't think such a piece can be critiqued constructively, what would that even look like. It has no basis in a formal technique like tonality that a person can learn and improve at through suggestions from more knowledgeable people.


----------



## Couchie

I suppose it could be judged in terms of originality from somebody highly familiar with the developments of such music, I imagine such a person would be exceedingly hard to find.


----------



## Iforgotmypassword

Couchie said:


> I suppose it could be judged in terms of originality from somebody highly familiar with the developments of such music, I imagine such a person would be exceedingly hard to find.


I'd say the judgment couldn't be from an intellectual standpoint at all. It's more of a primitive form of music, I guess an attempt to break down all structures and focus entirely upon sound itself and how these sounds interact with one another on a basic primal level and how these sounds affect one's mind and emotions. So if you listened to the whole thing with an open mind, without any attempt to listen to it the way you would any other composition, and you didn't feel anything aside from boredom then you could judge it by that. 
If the sounds confuse you, make you angry, sad, surprised, tired, dazed, awake, happy or all of the above then I have accomplished my goal. Also if you come to notice the chance interactions of the different sounds in the recordings then I have just as much accomplished my goal. I'm coming from the idea that music started from early humans listening to the wind and the rain, the insects and birds.. that's where music came from. I'd like to bring back these things in a new, more contemporary light. Combining certain sounds that typically aren't heard together and so on. Also I take my inspiration from different places, stepping outside and finding a new place to record... I like improvisation because it focuses on that primal internal spiel of energy relayed through sound as opposed to a more rigid memorized piece of music that has less room to breath and adapt to it's surroundings and the musician's mood in that area.

Of course I love traditional composition as well and I attempt to compose my own more strait forward stuff... some of which I hold much closer to my heart than my experiments, but this is definitely a love of mine.


----------



## macgeek2005

To "intelligently" critique this "music" is to do insult to everything and every person that ever contributed something great to Western art.

I fully endorse your right to create this, and to share it with those who like it, but it will not be remembered as Western art music, and neither will any of the "pieces" "composed" in this idiom from even the "greatest" avant-garde names.


----------



## macgeek2005

Couchie said:


> This is musical diarrhea.


Thank you.


----------



## Philip

macgeek2005 said:


> Western art.
> 
> Western art music


----------



## macgeek2005

Philip said:


>


Ah, the cosmic misconstrued notion of what classical music is. If anything though, this guy looks like he's listening to some avant-garde piece and being told that it's music.


----------



## Philip

You consider Iforgotmypassword's music _avant-garde_? I thought of it more as experimental/ambient/noise, and that's basically the framework in which it should be judged.


----------



## ComposerOfAvantGarde

Philip said:


> You consider Iforgotmypassword's music _avant-garde_? I thought of it more as experimental/ambient/noise, and that's basically the framework in which it should be judged.


Some of it to me was rather like Luigi Rossolo. Please tell Iforgotmypassword that he is BEHIND THE TIMES GET WITH THE PROGRAM THEY STOPPED DOING THAT **** YEARS AGO

:tiphat:


----------



## Iforgotmypassword

macgeek2005 said:


> To "intelligently" critique this "music" is to do insult to everything and every person that ever contributed something great to Western art.
> 
> I fully endorse your right to create this, and to share it with those who like it, but it will not be remembered as Western art music, and neither will any of the "pieces" "composed" in this idiom from even the "greatest" avant-garde names.


So John Cage and Stockhausen and such won't be remembered as Western art music? That's fine if you don't believe so... but I kinda thought that they would be considered as such. In fact I thought they already were.

Of course I'm not trying to force my own music into a category with anyone, I'm simply presenting it as music to be judged as such.


----------



## ComposerOfAvantGarde

macgeek2005 said:


> To "intelligently" critique this "music" is to do insult to everything and every person that ever contributed something great to Western art.
> 
> I fully endorse your right to create this, and to share it with those who like it, but it will not be remembered as Western art music, and neither will any of the "pieces" "composed" in this idiom from even the "greatest" avant-garde names.


macgeek, right now it is the world against you.

You sound exactly like a conservative classical music critic who's brain is baffled by people who are smarter than you to create such divine art such as Iforgotmypassword's superb composition here. Composers usually _like_ it when they receive negative reviews such as yours because it makes them feel like their IQ has gone through the roof when comparing it to the IQ of the critic.


----------



## Iforgotmypassword

Philip said:


> You consider Iforgotmypassword's music _avant-garde_? I thought of it more as experimental/ambient/noise, and that's basically the framework in which it should be judged.


No no... that's fine. I take the label "Avant Garde" as a huge compliment, even if you might be more on point genre-wise.



ComposerOfAvantGarde said:


> macgeek, right now it is the world against you.
> 
> You sound exactly like a conservative classical music critic who's brain is baffled by people who are smarter than you to create such *divine art such as Iforgotmypassword's superb composition here.* Composers usually _like_ it when they receive negative reviews such as yours because it makes them feel like their IQ has gone through the roof when comparing it to the IQ of the critic.


Firstly, thank you composerofavantgarde for the overblown compliments haha

And secondly, this is true. The thought of being an outcast in the name of pushing the limits of art is like a steak dinner for my pretentious, arrogant ego... However in this case as mentioned previously, I'm not really doing anything that hasn't been done before, just (hopefully) putting my own spin on it.


----------



## Iforgotmypassword

I'm thinking of using this as the flip side of the cassette I'm about to put out, "Tunnel" being the side A.






Headphones and a dark room recommended.


----------



## Ravndal

Bravo! This reminds me of "BJNilsen" with the album "Invisible City".

I liked tunnel better than this last one, though. It was easier to relate.


----------



## Crudblud

Not sure about the white noise, but the piece in the OP was an exquisite soundscape. Nicely done.

P.S.: You rock, don't let the jackasses get you down.


----------



## Couchie

Crudblud said:


> Not sure about the white noise, but the piece in the OP was an exquisite soundscape. Nicely done.
> 
> P.S.: You rock, don't let the jackasses get you down.


You're the _Paula Abdul _of this subforum. Congrats.


----------



## Crudblud

I wasn't on X Factor.

(but at least I'm in good shape for a 50 year old woman)


----------



## Iforgotmypassword

Ravndal said:


> Bravo! This reminds me of "BJNilsen" with the album "Invisible City".
> 
> I liked tunnel better than this last one, though. It was easier to relate.


Thanks! I'll check that album out.



Crudblud said:


> Not sure about the white noise, but the piece in the OP was an exquisite soundscape. Nicely done.
> 
> P.S.: You rock, don't let the jackasses get you down.


Thanks a lot man, that actually means a whole lot.


----------



## BurningDesire

I am curious about a couple things. Are there any processes that you use to organize the sounds in these pieces, or is it all intuitively done? Are these created digitally, with software, or do you actually work with tape?


----------



## Iforgotmypassword

BurningDesire said:


> I am curious about a couple things. Are there any processes that you use to organize the sounds in these pieces, or is it all intuitively done? Are these created digitally, with software, or do you actually work with tape?


It's all intuitive.

Everything you hear in the first piece was recorded on site and then re-arranged and/or manipulated through garageband, paulstretch and/or audacity. I don't like using digital/software generated sounds because it sounds dead to me. I want to collect my own sounds.

However, contrary to what I just said, I did use a white noise generator that I found on the internet to compose that second video. Typically I would not use one though and I probably won't do so again.

I've been working with field recordings captured on cassette recently, but I work with them through my laptop. I don't have any knowledge of tape splicing and don't have the equipment for it.


----------



## Head_case

Superb stuff! A little unbalanced, but at least it's not unhinged. 

Can't believe you lost out showcasing this for the grand finale of the Olympics!


----------



## Iforgotmypassword

Head_case said:


> Superb stuff! A little unbalanced, but at least it's not unhinged.
> 
> Can't believe you lost out showcasing this for the grand finale of the Olympics!


Thanks! I think...


----------



## Guest

ComposerOfAvantGarde said:


> You're too limited in your listening to understand great twenty-first century art.


Or it's not great art, and couchie's analysis is correct - if a little...scatological in its terminology.

I must say it passed me by, but I don't have a problem being condemned as limited. After all, I can't listen to everything in the universe and stuff that comes labelled 'weird crap' is somewhat self-defining!


----------



## Guest

Sorry I missed this one Iforgot. I don't often go on this part of the forum, unless violadude or coag invite me to. 

Anyway, it was pretty refreshing to hear a piece that actually sounded like the person who wrote it was alive and had been listening to music of the past forty years or so. 

It's a bit of a mix, isn't it? Some field recordings a la Lionel Marchetti, but then some Philip Corner-ish noodling on the "string instrument." That's not my favorite part so far (starting around 6 min, actually). Sounds too contrived, too controlled. 'Course, the first six minutes might actually BE tightly controlled, but they don't give that impression. But, then again, as it goes on (by 12 min), it starts sounding a little more like Tony Conrad (though not as delightfully harsh or manic), and that can't be a bad thing.

The key words in the above are "so far," I hope you know.

I also hope you're still around. I'd feel bad if you've gone away. This was very much fun. I'd like to hear some more of your stuff. (Speaking of which, where's violadude been lately? COAG's still very present, thank God, but violadude's been pretty quiet lately.)

Anyway, if you are still around, I wonder if your first six minutes don't belong to another piece than the rest of this. (I know. Ya got the whole ABA thing goin' on. Oh well.) It could be. (If you decide "yes," please make that part longer. Six minutes is too short for that material.) And the last four minutes are really pretty cool. I dunno. Maybe I was wrong to suggest that it's two pieces. Maybe the first six minutes could be trimmed. Maybe some minutes could be trimmed from the seesaw part (8 to 12 min approx). Maybe I need to just CALM DOWN!!

One more "anyway," this one to say that your piece is neither weird nor crap. Keep it up.


----------



## clavichorder

I'm really not trying to be witty here, not in the mood. I enjoyed having this play while I was sitting around in the state I'm in right now. I don't think its great by any stretch of more conventional mental construction(I consider a much greater degree of motivic and/or tonal form to be much preferable when it comes my musical tastes and ambitions, and in the right(or the right kind of wrong) company feel free to declare it outright superior), but I know that there was selective intuition going on in its construction and that you sincerely enjoy being creative and putting works together, and that's a great thing. Some of your comments the way you seem to handle criticism makes me feel respect for you as well, I would have responded otherwise(likely not at all) if your attitude was cocky, which it really isn't and is perhaps too modest. One can't know these things since the internet filters a lot of communication through a really narrow medium of text, but I fancy you are a cool guy.


----------



## Iforgotmypassword

some guy said:


> Sorry I missed this one Iforgot. I don't often go on this part of the forum, unless violadude or coag invite me to.
> 
> Anyway, it was pretty refreshing to hear a piece that actually sounded like the person who wrote it was alive and had been listening to music of the past forty years or so.
> 
> It's a bit of a mix, isn't it? Some field recordings a la Lionel Marchetti, but then some Philip Corner-ish noodling on the "string instrument." That's not my favorite part so far (starting around 6 min, actually). Sounds too contrived, too controlled. 'Course, the first six minutes might actually BE tightly controlled, but they don't give that impression. But, then again, as it goes on (by 12 min), it starts sounding a little more like Tony Conrad (though not as delightfully harsh or manic), and that can't be a bad thing.
> 
> The key words in the above are "so far," I hope you know.
> 
> I also hope you're still around. I'd feel bad if you've gone away. This was very much fun. I'd like to hear some more of your stuff. (Speaking of which, where's violadude been lately? COAG's still very present, thank God, but violadude's been pretty quiet lately.)
> 
> Anyway, if you are still around, I wonder if your first six minutes don't belong to another piece than the rest of this. (I know. Ya got the whole ABA thing goin' on. Oh well.) It could be. (If you decide "yes," please make that part longer. Six minutes is too short for that material.) And the last four minutes are really pretty cool. I dunno. Maybe I was wrong to suggest that it's two pieces. Maybe the first six minutes could be trimmed. Maybe some minutes could be trimmed from the seesaw part (8 to 12 min approx). Maybe I need to just CALM DOWN!!
> 
> One more "anyway," this one to say that your piece is neither weird nor crap. Keep it up.


Hey man, I appreciate your taking the time to actually give me some constructive criticism. I agree that the beginning section does seem to be a bit of a drag but I feel like it should stay, even if it's looked upon as a bit of an "introduction" to the main piece. Perhaps I should look into cutting it into two or three continuous movements so that the listener can categorize and therefore more effectively hear each section as a separate idea adding to the overall composition. Perhaps I should just cut it out completely or simply shorten it though. I'll actually look into that because I had noticed that the beginning part did seem to become a bit tedious to listen to after a while.

But yes, I'm still around. I've just been doing my own thing recently. I've got an hour of new material that I may post at some point, but at the moment I'm waiting because I want to put it out on CD and so before I put it all on the internet for free I'd like for people to have access to the disc as well.

I've also been focusing a bit more on live sets lately... which is beginning to take a toll on my compositions I think and I recently made the decision to:
A. Stop focusing on ideas for live sets.
and B: Stop telling everybody I meet about my music.

I've found that involving other people is good to an extent but after one crosses that line it becomes damaging to ones creativity. I've also found that people just think I'm weird and don't really care to converse with me when I talk about playing full shows of just guitar feedback, so I'm done telling them.
...not sure why I'm even telling you this but it seemed relevant until I typed it all out.



clavichorder said:


> I'm really not trying to be witty here, not in the mood. I enjoyed having this play while I was sitting around in the state I'm in right now. I don't think its great by any stretch of more conventional mental construction(I consider a much greater degree of motivic and/or tonal form to be much preferable when it comes my musical tastes and ambitions, and in the right(or the right kind of wrong) company feel free to declare it outright superior), but I know that there was selective intuition going on in its construction and that you sincerely enjoy being creative and putting works together, and that's a great thing. Some of your comments the way you seem to handle criticism makes me feel respect for you as well, I would have responded otherwise(likely not at all) if your attitude was cocky, which it really isn't and is perhaps too modest. One can't know these things since the internet filters a lot of communication through a really narrow medium of text, but I fancy you are a cool guy.


Well I appreciate the fact that you gave the piece a listen and at least can understand where I'm coming from. The reason that people that make music like this tend to either air on the side of extreme modesty or cockiness (is that a word?) is because of the way most people receive the music. As someone who has grown up in a classical environment I tend to air on the side of modesty simply because I know that there are a million people that can do what I do better than I can.

Of course there's also the fact that since I've begun to play shows and tell other people about my music I've felt more and more like I was a terminally sick patient telling them about my sickness, leaving them to uncomfortably reply in short, clueless phrases hoping for me to go away as opposed to a musician talking about my art, so that might be part of why I come across as very modest.

Edit:

I just re-read this post and must apologize for it's unfocused, sprawling nature. I have definitely had better posts haha


----------



## regressivetransphobe

macgeek2005 said:


> To "intelligently" critique this "music" is to do insult to everything and every person that ever contributed something great to Western art.
> 
> I fully endorse your right to create this, and to share it with those who like it, but it will not be remembered as Western art music, and neither will any of the "pieces" "composed" in this idiom from even the "greatest" avant-garde names.


I like how you cleared up the fact that he has a right to make music, like he was worried he might have to stop after reading your post.

**** off


----------



## regressivetransphobe

ComposerOfAvantGarde said:


> Some of it to me was rather like Luigi Rossolo. Please tell Iforgotmypassword that he is BEHIND THE TIMES GET WITH THE PROGRAM THEY STOPPED DOING THAT **** YEARS AGO
> 
> :tiphat:


I'm eagerly awaiting Iforgotmypassword's rap album.


----------



## Iforgotmypassword

regressivetransphobe said:


> I'm eagerly awaiting Iforgotmypassword's rap album.


It's actually a series of 4 minute dubstep tracks


----------



## Guest

Iforgotmypassword said:


> Hey man, I appreciate your taking the time to actually give me some constructive criticism.


My pleasure. Thanks for the two pieces. I really liked the second one a lot, too.



Iforgotmypassword said:


> I had noticed that the beginning part did seem to become a bit tedious to listen to after a while.


If you make it its own thing, and keep it going for half an hour or more, that seeming will go away, I'm pretty sure!



Iforgotmypassword said:


> playing full shows of just guitar feedback, so I'm done telling them.


Mmmmmm. Guitar feedback.

Where do you live? I'm pretty sure of something else, too. If you lived in France or Germany (especially Berlin) or Norway or Canada (Toronto, maybe?) or Japan, you'd get a lot more sympathetic and thoughtful responses to what you're doing. You'd suddenly feel all healthy again!![/QUOTE]

In the meantime, give a listen to some Otomo Yoshihide or Yasunao Tone or Brandon LaBelle or Christina Kubisch some time. I mean, if you haven't already. Big names outside the U.S. And doing stuff like you're doing.

I've found a lot of cool things just by collecting 3" CDs, too. I have one that's a recording of ice melting. The creator froze a microphone in a block of ice and then recorded the sounds of the ice melting around it. It's delightful!

It's good times Iforgot. Don't let anyone take that away from you!


----------



## Iforgotmypassword

some guy said:


> My pleasure. Thanks for the two pieces. I really liked the second one a lot, too.
> 
> If you make it its own thing, and keep it going for half an hour or more, that seeming will go away, I'm pretty sure!
> 
> Mmmmmm. Guitar feedback.
> 
> Where do you live? I'm pretty sure of something else, too. If you lived in France or Germany (especially Berlin) or Norway or Canada (Toronto, maybe?) or Japan, you'd get a lot more sympathetic and thoughtful responses to what you're doing. You'd suddenly feel all healthy again!!


In the meantime, give a listen to some Otomo Yoshihide or Yasunao Tone or Brandon LaBelle or Christina Kubisch some time. I mean, if you haven't already. Big names outside the U.S. And doing stuff like you're doing.

I've found a lot of cool things just by collecting 3" CDs, too. I have one that's a recording of ice melting. The creator froze a microphone in a block of ice and then recorded the sounds of the ice melting around it. It's delightful!

It's good times Iforgot. Don't let anyone take that away from you![/QUOTE]

Yeah man. I might just cut that beginning part out. We'll see. I still haven't put it out on cassette so there's time to do some last minute alterations.

I live in a small college town in Eastern North Carolina haha It's one of the worst places to do what I'm doing because most of the people that go to school here go because it's a real party school. The art program at the college is pretty good, but you would never ever know it by looking at the city. You're right. My location is terrible.

Yeah several of those names are very familiar... though I'm terrible with names so I'm not sure which I've actually listened to haha

Man I wish I had some disgustingly expensive recording equipment so that I could record the sound of a tree from the inside as it creaks and groans and insects move along it's outer bark and build homes within it's skin... but I can't so I'll just write long poetic sentences about it on talkclassical. I'll check that album out though, sounds great. What's the name?


----------



## Guest

Wow. Sucks to be you!

Anyway, the CD is rec01 by collin olan.

"Two waterproofed contact microphones were frozen inside an approximately 10"x10" block of ice. The ice was then submerged in water and the entire melting process recorded.

No processing has been made to this recording with the exception of minor digital errors being removed."

In looking for this one, I found another along similar lines, Anemoi by Mark Cetilia. It's a recreation of his "experience of gathering recordings during [a tropical] storm: rain, light[n]ing, moments of total stillnes, whipping winds, tree branches scraping against each other, struggling with [a square loop antenna capable of detecting any changes in the electromagnetic field within 10 miles] to avoid tuning in radio stations, and finally, the restoration of electricity to the surrounding environment."

Enjoy!


----------



## ErinD

Compendium of prog rock intros of the decade!


----------



## Iforgotmypassword

some guy said:


> Wow. Sucks to be you!
> 
> Anyway, the CD is rec01 by collin olan.
> 
> "Two waterproofed contact microphones were frozen inside an approximately 10"x10" block of ice. The ice was then submerged in water and the entire melting process recorded.
> 
> No processing has been made to this recording with the exception of minor digital errors being removed."
> 
> In looking for this one, I found another along similar lines, Anemoi by Mark Cetilia. It's a recreation of his "experience of gathering recordings during [a tropical] storm: rain, light[n]ing, moments of total stillnes, whipping winds, tree branches scraping against each other, struggling with [a square loop antenna capable of detecting any changes in the electromagnetic field within 10 miles] to avoid tuning in radio stations, and finally, the restoration of electricity to the surrounding environment."
> 
> Enjoy!


That sounds amazing dude. I'll definitely check it out.



ErinD said:


> Compendium of prog rock intros of the decade!


 I suppose that's a compliment


----------



## PetrB

I heard an exceptionally keen ear, and to a degree, someone with a very good sense of 'events' and how and where to place them.
I also heard one of the most common of 'faults' -- especially when one improvises, and alone... some things just go on too long, and what comes after is neither a surprise or 'relief' - both more likely what should come after something which does run so long the listener is forced to anticipate what follows.

I also found all your found sounds 'musical' and some very well used and placed. Since they are so much more specific, and in a manner of speaking , pitched (rock rubbing against something or similar 'instrument,') they are perceived as 'melody' in a way. In the same way that far too many pianists lean more on the melody -- you have all those found sounds very in the fore in your mix. Just like melody, the ear tends to hear them foremost, even at a lesser volume in the overall mix. (Ergo: I would have liked those more 'mixed in' with your white noise 'pad.')

When making your next, it is handy to have a 'pad' base or drone over which to improvise. It is not at all necessary to keep it in the final product, sometimes even better to remove it, it was an instigator, and is sometimes genuinely of no interest at all once the other materials are put together.

As an experiment, selectively delete some of that continual pad, and see what you hear without it - what it made for me was a perceived continuum of a much too consistent pace. Removed, the remaining events might show they have a stronger rhythmic interest than you seemed to trust them to have (Rhythm understood as it is, not 'metric' LOL)

Overall, one of the more acute set of ears which has made something to be auditioned on this site. I believe, once you have a strong technical base in 'standard' writing and instrumentation, you might think of integrating these concrete and electronic elements with acoustic instruments, and / or apply some of this aesthetic directly to a solely instrumental piece.

Look forward to your further endeavors.


----------

