"the insanity is the exit of the intellect, the truth is a figure that acquisitiveness is make in the shape of the end, a stone that picked up and a stone that was in there has different meanings, but they are opposite sides of the same coin.
if thou seek what there is only in the vault of heaven or scheol, thou lose everything that thou know, there is no opportunity to know anything to thou. - it is the horizon in which was given to all human beings." (NE4)
This work is entitled 'Olympus XE' and is a one of v.Hillenbrandt's work released on 30 pieces limited (REVI laminate sleeve, the first 10 pieces for picture label specification) based on noise/experimental genre specific distribution format. I'm aware of the fact that it's an act of narrowing the interpretation significantly and that it's useless for the creator himself to say something about the work. On that premise, I'll explain in detail for the reasons that have been made with clear design and thought. Noise/experimental is often accompanied by thought. From this point on, you may or may not know about this. It has NO effect on the recipient's life.
'hortus nam immortalis' and 'hortus in caelum' are two different origin. The former is a tune originally made as a material, and was composed as a part that could connect any pattern. in addition, these parts are joined together and finished into a piano solo. The latter is composed only with KORG M01 on Nintendo DS which reproduces the early 90's legendary workstation synth KORG M1. all sound output, including glitches, distortion and feedback, is provided by realtime scene play and built-in effectors performing. Needless to say the key and BPM, even the tune is significantly different from the former. It's the reason that to use a finished product as a material.
Five variations of 'rima omniscientis', 'caelum putrit', 'rex inferni', 'rima omnipotentiae' and 'echo (or what was born between heaven and earth)' are constructed only from the material which has been carved out and processed from them. However, only 'rex inferni' overdubs the drone with KORG DS-10PLUS. Distortion effects are only used in part of 'caelum putrit'.
These five variations are standardized to some extent with a structure that doesn't significantly deviate from the origin. The first reason for this design is the emphasis on deconstruction. In particular, because music is easy to grasp specifically,
a1) drawing a common scene from different forms of the origin;
a2) presenting different sections and interpretations of the same structure in parallel;
b1) to make a noise song group explicitly having a musical structure;
b2) treat noise groups as tonal groups and treat them as equivalent to other tonal groups;
these two groups and four terms, pointed out that these are equivalent while different from the original, unique space and quiet flow that aren't captured by some templates - such as the intricacies that destructive and violent aspects of noise and anti-musical structural abstraction, alternatively, the presentation of mechanical stability and comfort is intended.
Essentially, noise is an extremely violent sound combined with the wideness of the frequency band. Especially in noise as a part of genre, there are many cases that are actually used as such. Not only that, I think that the methodology should be pursued more actively - construct as a musical piece while treating various noise textures with vivid granularity as independent tones as if they are part of an orchestral instrument. This work is also functioning as a form of that expressions.
Secondly, the act of establishing awareness for things that only exist there, seeking interpretation, making mentionable with the definition of meaning, is the one of the most universal behavior modes of intelligence. The ampler scope that intelligence can enter, the more polysemous it becomes, definition always suppresses the possibility of mention that may exist in other aspects.
In terms of writing and critique, they allow relatively free contact and interpretation. However, there aren't so many manifestations of polysemy from the side of music creators. This fact isn't limited to noise/experimental scene, even if it's the best form based on the creator's own design and ideals, it's better for the creator not to limit it as the only best product. Creators should explore and discover in various ways about polysemy of own productions by shifting their point of view.
Being able to interpret and extract the form when grasped in detail from more different directions is strongly intimately associated with the acquisition of own hidden abilities and rejoices for self, not only the evaluation opportunity, especially for creators. In this work, variations are presented for that purpose.
Needless to say, and there're still points to be promoted and improved regarding this work. I think I should also try making several times using these methodologies.
Entire work of this is created in a very classical style - just as many works of the past were based on literary works. Composition and arrangement of the music was designed to complement the story's origins and conclusion.
The idea I came up with is based on Aki 'Olympus' published by Ichijinsha (あき『オリンポス』一迅社刊). That's a manga work drawn from the viewpoint of two persons, the youth Ganymede trapped in an immortal garden without an exit due to Apollon, the sun god Apollon who begins to hold doubts on divinity while perplexing Ganymede's human intelligence. Although it's titled as 'Olympos', that manga work doesn't appear except for Apollo, Artemis and the three brothers of Zeus, Poseidon, Hades. Also that manga is occasionally said to there's no story line because of it's hard to convey the essence depending on polite drawing of human figures or a bit of harmless fun like coterie.
There's no need for a story in the first place. The main theme is the unfolding of primitive philosophy that asks existence and self-consciousness on the premise of stage setting as the problems from the side of God at the Garden of Zeus - what's the basis of facts that they can be stated because of omniscient and omnipotent? (This is very unusual as a depiction of Gods.)
As rex inferni Hades also stated "Ask (yourself to why)" at the last phase of story, unless try to think oneself spontaneously "why", there's no way to understand anything in the first place. We should be remembered that such criticisms are included a priori.
The last noise tune 'regina vesperae' is created using only unreleased 'Heidekraut' by piano - violin x2 - flute quartet as the material, and is just additional recording. Although the origin and construction method of the music are similar to 'olympos', this isn't directly related to that main part.