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I go with “songs,”
though, because they have the same effect on you that great songs have:
they dominate your consciousness so completely that everything else fades
off into the background. As your focus deepens, the sounds take on a sort
of holographic presence, hovering in some perceived space (above the floor
between the speakers and the sofa, for me) like something out of an early-seventies
science fiction movie. It is an almost indescribably nifty experience that
reminds us, if we’re willing to be reminded, of the posited original
functions of music: the summoning of gods, the conjuring of inhuman spirits.
(The music’s purely computer-generated nature is a cheap but neat irony
in this regard.) Of the three songs here, let’s look at the shortest,
the thirteen minutes and twenty-six seconds of entirely synthesized sounds
called “Quiet Friend.”
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