Elektronische Musik by Mark O'Leary

Mark O'Leary has always been inspired by the work of Stockhausen and Ligeti created at the Experimental Electronic Music Studio in Cologne.
This music is in conception a sample of the sonic workshop Mark has been engaged in for a while and is his first rhythmic oriented electronic music project and with the aforementioned petit homage the title just had to be Elektronische Musik.
It took a lot of work before stasis was achieved and a concept with rigour cultivated. (For one does consistently strive for the Rigour of the Oxford Senior Common Room)
Before deciding on the music, eschewing hubris, a couple of shows were performed featuring some of the tracks that would ultimately make it to the recording and indeed the denouement was the benevolent approval from several key people in the music industry, and thus the necessary confidence to make the transition into this paradigm was cogent.
The music is imaginative and even within the genre has disparate contours and colours.
Mark sent the original tracks to Daniele Santini (TIBProd. Italy owner) and Daniele exhibiting a fingerspitzengefühl for the sine qua non remixed the tracks adding some subtle ingredients that concomitantly gave the music a propitious propulsion with gravitas.
The titles themselves, allude to a motley array of diverging characters, some fictional, some created and some yet to be, one can peruse upon the hypotheses in total and probably decipher.
One could attain absolution for believing in the existence of the Neo Kantians of Paraguay, it is an enchanting thought and in ones struggles to keep on keeping on is an inspirational motivation.
The rhythmic timbral nuances of a helicopters rotors, that moment in a movie after a dynamic sequence where the main character may become a bit more introspective and we know and revere Sundance, but who is the Mississippi Kid, a degree of cartesian reductionism is necessitated perhaps.
The minimal techno infused rhythmic pulsations of Kinetisch lend itself to a Berlin trajectory but Be Water My Friend is for Bruce (not being pejorative, one principally, with several others also very worthy).
The recording process was arduous, recording, re-recording, reverse engineering, restarting over, a crystallization process, one can correlate it to a more oriental process rather than western linear process, the wheel turns and returns to its start point and then turns again.
Marks path is a kind of sonic heuristic work, one is trying to discover rather than learn, because learning, sometimes can just be duplication, when your looking for something with integrity you have to find it yourself, shape it yourself and it isn't all in an intellectual sphere, one also does have to be sentient, you do want the audience to connect.
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Be Water My Friend

For upon entering the vestibule of the Neo Kantians of Paraguay,
Triple entente Uruguayan littoral a ship a hoi,
Königsberg to Asunción to Jean Baptiste Botul,
Manning the capstan, sails up, heave, hoist, pull.

Let us not to impediment, shan't nothing come between us,
Greene's comedy voodoo, a dancing upon Venus,
Our man in Minsk, Bruce, be water my friend,
Enter zodiac dragon, hyacinth to blend.

Copies without originals, simulacra Baudrillard,
Plato's matrix cave, metis cyber sage bard,
Incidental scene from a movie, of Morricone oeuvre,
Venus de Milo, winged Samothrace, dans le Louvre.

Red rose, purple dust, burnt norton, little gidding,
The dry salvages quartets, gavel-lectern to bidding,
An amalgam of pictures in a gallery we peruse
Gemütlichkeit, gesamkunstwerk, Bauhaus our muse.

Sundance and Mississippi, to barque of zarqa we traverse,
A vagabond in lamb white days, out of grace to converse,
Moholy-Nagy, great machine of perpetual motion,
Gesang der Jünglinge, in concomitant commotion.

Ostinato rigore of the Oxford Common Room,
fingerspitzengefühl, sine qua non, one must assume

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