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Works | Liqui Syn Dementia

SYNTHESIZER MUSIC FOR PSYCHONAUTS
ELECTRONIC COMPOSITIONS FOCUSED ON SOUND SYNTHESIS TECHNIQUES
INCLUDING MACHINE IMPROVISATION





WORKS

SHAPELESS VISIONS - 2001
SPIRAL TO THE OBLIVION - 2002
MORPH - 2003
ENUMA ELISH - 2004
ULTRAMARINE - 2004
MERGE - 2004
KYKEON - 2004
PYTHAGOREA - 2004
EXPIRY MENTAL WORX - 2005
SYNTH MAESTRO - 2005
AQUATALES - 2005
LENS - 2005
L'ATELIER ROUGE - 2005
FIREWIND - 2005
PIECES FOR FARFISA AND SYNTHESIZED ORCH. - 2006
PRIVACY OF INSTRUMENTS - 2007
KING HEREAFTER - 2007
SYNTHPHONY NO 1 - 2007
DIFFERENTIAL - 2008
SOLIPSISM - 2010



 
 
DIFFERENTIAL - 2008 | Compositions
- Differential – Sound Scene To Describe And Understand Change - 1:11:11



An instance of LCPC using complex algorithms of musical events, and electronic process. The techniques used are symmetry and chord shiftings. The one-track album, lasts 1:11:11 and consists of different but nearly sound-alike blocks of sound with slices of "silence" (or Empty Time) in between them. This work will suite those who are open to experience a very different dimension of listening. The LCPC Techniques are camouflaged under vast electronic process resembles the concept of the work through disjointing and disassembling the musical elements. At the beginning, the first impression of the listener would be complexity and contradiction, in the middle of the piece, the controlled chaos exposes itself. What you are listening in this composition is a musical translation of - ideational Synthesis of Difference - repetition for itself: passive synthesis, active synthesis, empty time. Gilles Deleuze says that difference has been treated as a secondary characteristic which emerges when one compares pre-existing things. The network of direct relations between identities roughly overlays a much more subtle and involuted network of real differences: gradients, intensities, overlaps, and so forth. Empty time, the third layer of time is an important part of this composition, and is not the simple repetition of time: The omnipresent. Deleuze writes: "Destiny never consists in step-by-step deterministic relations between presents which succeed one another according to the order of a represented time. Rather, it implies between successive presents non-localisable connections, actions at a distance, systems of replay, resonance and echoes, objective chances, signs, signals, and roles which transcend spatial locations and temporal successions." Another concept of this work can be found in Derrida’s thought: Any architectural deconstruction requires the existence of a particular archetypal construction, a strongly-established conventional expectation to play flexibly against.


 

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