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SMOLD_022: Solfatara
Solfatara
A work of Sonic Multiplicities performed by Garrett Semmelink on violin.
Downloads
Artistic Statement
A work of Sonic Multiplicities performed by Garrett Semmelink on violin.
Downloads
OPUS FLAC MP3
Artistic Statement
Every time we pick our instruments up and dawn the self-conceit required to musically emphasize our ideals, we open a crater inside of ourselves, from which we allow concepts to escape into the physical universe. Though that opening may bubble and emit toxicity from time to time, for the musical mind those occurrences are the cost of doing business in the sonic universe. Too infrequently, however, we fail to consider how dangerous it would be to enter into this crater from the other side - a
notion often considered when the thirst for musical prowess builds. Tragically, when we finally build up the courage to chart the inner depths of our musical mind, we are too frequently saddened to realize that there is not as much complexity as we would have hoped.
Even so, there’s plenty of magma and death that awaits the mental-musical journeyman. We are eager for our improvement to arrive, because our instruments enable us to experience immediate feedback. But when we step back from our conceits and meditate on the ideas of sonic multiplicity, we discover the internal prowess of our mental mysteries. The journey is what our music expresses, not its end result. It’s a good thing, too; the silence of death makes for some dreadful music.
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By Andrew GrathwohlSolfatara
A work of Sonic Multiplicities performed by Garrett Semmelink on violin.
Downloads
Artistic Statement
A work of Sonic Multiplicities performed by Garrett Semmelink on violin.
Downloads
OPUS FLAC MP3
Artistic Statement
Every time we pick our instruments up and dawn the self-conceit required to musically emphasize our ideals, we open a crater inside of ourselves, from which we allow concepts to escape into the physical universe. Though that opening may bubble and emit toxicity from time to time, for the musical mind those occurrences are the cost of doing business in the sonic universe. Too infrequently, however, we fail to consider how dangerous it would be to enter into this crater from the other side - a
notion often considered when the thirst for musical prowess builds. Tragically, when we finally build up the courage to chart the inner depths of our musical mind, we are too frequently saddened to realize that there is not as much complexity as we would have hoped.
Even so, there’s plenty of magma and death that awaits the mental-musical journeyman. We are eager for our improvement to arrive, because our instruments enable us to experience immediate feedback. But when we step back from our conceits and meditate on the ideas of sonic multiplicity, we discover the internal prowess of our mental mysteries. The journey is what our music expresses, not its end result. It’s a good thing, too; the silence of death makes for some dreadful music.