Kosmotechnik

by Aelfric Avery

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Kosmotechnik 06:44
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about

This album is very personal for me because the sounds I used are based on sounds that literally originated inside my own body. In early 2017, I had a very bad infection in both ears which lasted for weeks. Among the results of this (including excruciating pain for a prolonged period) was that I temporarily lost all hearing in both ears. Not being able to hear any external sounds, I was stricken by the fact that I could hear a whole orchestra of sounds inside my body. During the period of my deafness I had no choice but to listen to these sounds each day for the entire time I was awake. Since I was so sick that I was unable to do anything else, I analyzed these sounds, wrote descriptions of them, and began to write them down in musical notation with the idea that I could replicate them on my musical equipment.

The sounds were surprisingly musical. I could hear a number of soft (sine wave) continuous drone pitches, some very low, some very high and some in between, which for some reason were all in harmony with one another. I wrote down the intervals between these notes. I could also hear combinations of notes. I noticed that I could change some of them intentionally by thinking about changing them, while others remained fixed and I could not effect them. Nevertheless, several melodies played over and over in my head all day long every day for many days. It was almost intolerable. I am not really sure what the sources of these pitches and melodies were. I believe a couple of the fixed pitches may have been the "ringing" that results from the permanent hearing loss that most of us have to some degree. Some of the variable pitches were likely connected to my "musical ear" syndrome, which is a phenomenon in which a person hears pitches in the ear that are not coming from an outside source. I have had musical ear since I was a small child, and it has always been the same two pitches alternating back and forth.

Aside from the drones and the melodies, I could hear rhythm, which was much less mysterious. Being deaf to external sound, I could hear my heartbeat loud and thundering, keeping a solid bass drum rhythm. I could also hear the resulting sound of the blood pumping through my head, which sounded like the soft, reverbrating white noise of snare drum. My heart would thump, then my blood would pump alternately, forming a rhythm, to which the melodies played. It was the strangest thing.

As soon as I began to recover the smallest amount of my hearing, I went into my studio to try to capture and replicate the sounds I had been incessantly subjected to for my many days of illness. I tuned my synthesizers to the exact pitches I had been hearing inside my head, and I set the tempo exactly to the beating of my heart. I used sine waves, which sounded exactly like my internal sounds. I had no difficulty in replicating my never ending internal sounds, the result of which was the last two tracks on this album: Internal Soundscape I and II. In particular, Internal Soundscape II is my closest replication of what I heard in my head while deaf. From this sound palate I became creative and extrapolated the rest of the songs on this album. I created and recorded all of these songs while I was still 70-50% deaf, which posed some difficulties, but the benefit was that I could still hear the internal sounds at the time of recording, ensuring that I replicated them accurately.

While I was sick, I was reading about "Kosmotechnics," which therefore became the theme and inspiration for the album. This reflects that the workings of the cosmos, of the macrocosmic external world, are the same as the workings of the microcosmic internal world inside my body which I had become greatly in tune with during my illness.

As I slowly got better, my hearing gradually returned, and the internal sounds eventually faded almost completely. I now believe that we all have an internal soundscape which is usually drowned out by external sounds. But I will always remember these sounds and be glad that I took the opportunity to capture something so strange and unique, and that I was able to take the bad situation of my illness and make something good out of it. Now, I am truly able to share with others what it sounds like inside my head.

credits

released October 30, 2017

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Aelfric Avery Ashcroft, British Columbia

Aelfric Avery has been making music in various styles for almost 30 years and has over 70 releases. He was one of the main pioneers of the revival of traditional ancient Germanic folk music, the first album of which he released in 1996: see aelfric.bandcamp.com He has also written 3 books on the ancient Goths (see Lulu link below). ... more

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