Does music still exist or is it all about the production, development, crystallization of sound?
Music is the art of time. When time is reduced to space (Bergson vs. Zeno, Adorno vs. Stravinsky, postmodernism's hyperspace aka the end of time) one is left with assembling and disassembling, arranging blocks of sound, in short, montage.
Random Logic are returning to music-time, as their method-procedure demands duration. It has to happen in one take, one shot. Perhaps the correct analogy are not the labyrinthine trajectories of Michel Gondry's videos or Hitchcock's film-monster Rope which still fascinate or seduce, but Béla Tarr's unbearably long sequences. Pi could be a misleading name recalling constant repetition, viciously enchanted or disenchanted circle, the Groundhog bar. Actually, it demands constant alertness, detecting, overhearing the infinitesimal, unrepeatable, unpredictable, imperfect deviations bordering on “hearing things”. Thus the album's title is not a case of avant-gardist flirting with mathematics in the manner of bad infinity, rather a manifesto against the dominant state of connection in the name of conjunction (see Berardi).
When music settles for functioning as a backdrop, “the electronic continuum” of the screen, a mere distraction, it abolishes itself, the same happening to mind that blends with the environment. Random Logic take this tension of so-called ambient music as their starting point. Sound which is expected to merge with the surroundings indistinguishably, turns out to be the non-linear continuum of modulations, perturbations, jams, calling for the presence of mind, i. e. thought. Pi gives birth to a listener. Only the attentive, committed, keen listening can (re)compose the conditions for that thing one will be able to call music again.
• Marko Bauer
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