Losing Touch - Edmund Campion

by Brian Archinal

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Music with sons fixé requires a different kind of patience and work method than any other kind of playing. In chamber playing, we utilize other musicians to make use of a kind of flow and movement of sound. A performance with a fixed media track can often fall to many situations: A performance lacks the kind of fluidity a chamber performance creates, the music and instantly sound “dated,” an inexact synchronicity may completely damage the sonic material and musical intent. A performance with electronic media requires a kind of reflection on a performers relationship to the composed sound.

In Losing Touch, we are confronted with almost every kind of aural relationship possible. At times the performer is a soloist with the tape, other times the tape is the primary voice, requiring a difficult sensitivity. Since much of the introductory music are bent vibraphone samples, the two roles (performer/media) become equally balanced, requiring a search for equal volume and color. At times the performer is reactionary to the media, but in many situations it almost seems possible for the performer to influence the electronics. The notion of interacting with a fixed media is one of the main questions inside Losing Touch.