I made this song a few years ago, and never bothered to finish it off - even though there was really only some tiny polishing needed to do so (sometimes things fall off my radar and I forget they exist until I stumble upon them later on).
So I polished it off and here it is.
I wrote this as a response to a documentary that I saw on Netflix a few years back called We Don't Care About Music Anyway, which examined the Japanese avant garde music culture which mostly exists by responding in a punk-like philosophy mixed with French revolution bohemian culture in the context of modern Japanese culture. The style juxtaposes beauty and order against disorder and ugliness; challenging what is and is not aesthetically pleasing and what is and is not harmonious. Basically, any element of standard music, such as timing or cyclical order placement (e.g. all parts being in sets of 2 or 4 measures) are challenged. It may be, for example, that one instrument plays something in sets of 4 measures, while another plays in sets of 3 or 5.
The expected flow of the music is also thrown out the door in this style in exchange for going where the sound itself wants to stop, or sometimes specifically stopping where it shouldn't.
And it's not just a mass of turning on noise and that's it. These artists sit around and deeply discuss their choices and the philosophies they were examining, and what each other's work has provoked philosophically within their own minds.
It is a very intentional design and fascinating, especially in consideration of traditional Japanese folk music which centers on 'natural' rhythms of the music, but with an interest of being specifically aesthetic.
So this avant garde style is a sort of reprise of the old traditional folk music, recontextualized into the modern era as a response to the perfectly ordered and pristine-focused daily culture of Japan.
That is, the general visage of Japanese modern pop-culture on any given day is hyper-focused on cute things, up beat things (even their black metal is combined into "cute" and "up beat" feeling overtones - which makes it a novelty to Western minds), bright LED lights everywhere and on everything, clone-ism (even the trends to be different end up following a mass trend such that eventually everyone starts to want to look like the new "unique" look in their "own way" which feeds back into being not unique at all), and the Japanese equivalent of the "American Dream" - the ideal form of what you have to have and what's considered a proper place to live, proper socializing, proper fashions, etc...
So it basically takes all of this glossy Japanese culture and says, "That's great...and if you look just to the left, you'll notice an entirely abandoned building...no? No one care- Hey...stop with the cute peace sign selfie for a moment, turn around and look what's behind the first layer of what you can see in the city...hey..HEY! YO! Fuck it..."
So these folks tend to actually reside in the run down and neglected part of the city by choice; as a form of social remark that couples with the music.
Basically, they're a sort of conservative that we don't tend to understand in the West. They look back to the traditional life of Japan, idolize it, and then use it to do absolutely everything possible to destroy the beauty of the modern Japan by applying unto it all opposite values of modern Japanese aesthetics.
So they don't really care about the music. They care about the point they're making and the music is one way they are articulating their point.
There was one very specific piece that I just loved so much that I had to save a copy (I recorded the sound from my soundcard while the documentary was playing) - because it won't ever exist on an album anywhere due to the above and the nature of the impromptu performance and the combination of the film maker's juxtaposition of sounds against the artist playing.
Here's the song which I love (It's just beautiful and torn at the same time), and from which, the consideration of, I made my experiment.
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Here's the experimental piece.