Eaves
Gorilla

Although human interaction with digital excess is a bit of a moot point — the processual development and use of excess is often overlooked as a tactic for track-making. The origin point of samples — a mysterious and often curated location — is a heavily guarded secret: as if music listeners forget that the track, in all of its apparent glory, is a sutured structure often strung together by composite parts sourced from…where?

Eaves mentioned this to FADER almost redundantly, stating that “the internet presents euphoria and tragedy in symmetry [as] we digest its information with reckless abandon.” Even still, it often seems like classified information that the internet, particularly YouTube and streaming services like it, establish a constantly changing, constantly updated sound library — one responsive to the sorting convenience of a search option. 1,000 views into sound fx, sci-fi blares, soundtracks, and random detritus later and the mind’s-eye view of guarded, authentic experimental music becomes much more intuitive — perhaps more decentralized — subject to the nearly meditative whim of being strung out in the natural net-surfing patterns common to our extended “second life.” Now the movement is plugged directly into composition.

There is a magnificent beauty to this sort of composition — in accessing the richness of streamable sound. Eaves demonstrates the blithe, sensuous possibilities from sourcing the emotional and sonic multiplicity found in fifty open tabs — tabs all firing sound at once — as a plug-in re-directs the ripped audio directly into the DAW. The act retains a near physical violence: vaporous, wispy waveforms are absorbed from thin-digital-air and chiseled onto the grid almost vigorously. There’s something undeniably visceral in making the impermanent “movements” of gestural keystroking and browsing (redirecting and morphing the sonic assault found in the browser) into dense, lush composition.

Eaves’ “Movements” are each brilliant renderings of fluid detritus made formal, structured like architecture. They show how browsing contains temporal, hallucinatory audio-experiences that flow naturally with momentum; yet, the pieces themselves are sensitive to form and structure — a characteristic that’s hard to find in more generative plunder-phonic compositions. Halfway into “Movement 2” sees ecstatic trance blips chorus vocalizations and strange percussion — rack sounds morphed like tarnished metal bits worn down from acid-rain, clanked together in cultish celebration. The track sputters and halts to a beautiful inner logic that shows sonic diversity and thoughtful composition in equal-measure.

Eaves helped introduce HYBRD01 — a new party put on by Purple Tape Pedigree — at Trans-Pecos in Queens this past Friday. Surf through the movements below and keep your eye out for “02” and upcoming info on PTP.

Chocolate Grinder

CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we’ll post any song or video we find interesting, big or small.

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