In fluid dynamics, turbulence or turbulent flow is a fluid regime characterized by chaotic, stochastic property changes. This includes low momentum diffusion, high momentum convection, and rapid variation of pressure and velocity in space and time. Nobel Laureate Richard Feynman describes turbulence as « the most important unsolved problem of classical physics. »Flow that is not turbulent is called laminar flow.
the Tremens Archives : Would We Are Unique Records go for a new experimental subdivision long after Hitomi Recordings ? Is it of real importance to divide domains especially as we are hardly capable of defining experimental music ? It seems to me that in many ways « experimental » music regroups under a common entity a variety of styles and approaches. As such, it allows to relagate to a negative category (not pejorative, but by default) whatever seems hard to listen to according to current musical standards.
Scientists verify through an experimental procedure the recurrence of a theoretical hypothesis’s validity by mastering all of a system’s variables and by isolating a factor which they then have vary in order to make sure of the procedure’s coherence. Can that be done in a musical process ? At an instrument’s level, we could indeed, such as one can, through ingenious processes, start from a simple sinusoid and, using sound filters and processings, create a whole range of novel sounds. The emerging questions are these : What artistic hypothesis is thus verified ? What has been created : music or plain sound as dubitative profanes would spontaneously remark ? One would also have to consider that there are rules commanding art and especially music, which I profoundly doubt of. The subject is so vast it can’t be exhausted by these few words, let’s just say that experimental music is tremendously rare.
The musicians, members of several groups on Waur, have tried to spontanuously give shape to their desire of improvisation, clearing and exploration. That much can be intentionnaly said. But does improvisation, which concerns sound textures and the economy of an improvised interactions’game, suffice to qualify a music style as experimental ? I would rather say that each improvisation is an experience. These experiences have regularities, but no rule. We can not explain why we did things that way, but only that it was hardly possible to do otherwise. We, the children of the agonising middle-class, we can still rely on the intellect, the lyrism and the audacity to give shape to chaos. Only by acknowledging the unknown dimension produced by experience, does it become possible to say anything about it and, besides, anything that remains unrelated to the work’s esthetic. The compositions presented here are a sound trace of that experience. Recorded memory allows us to make One of these experiences for which “one doesn’t bathe twice in the same river”.
The forthcoming albums testify of what has humanely been possible to do and think. They stand as kinds of pictures in motion translating knots and turbulences. We hope listening to them will be an experience.
Gilles Deles (translation by Natacha Collomb)
Photo by Leïla Bergougnoux