![]() This cookie is set by Google and stored under the name. This cookie is used to track how many times users see a particular advert which helps in measuring the success of the campaign and calculate the revenue generated by the campaign. These cookies can only be read from the domain that it is set on so it will not track any data while browsing through another sites. This cookie is installed by Google Analytics. However, I think this experience of being cut short might be contingent on the kind of critical, active listening that one tends to employ when a Bandcamp release is marketed as experimental and critical.The cookie is used to calculate visitor, session, campaign data and keep track of site usage for the site's analytics report. Just as it has settled itself in, it already fades out, creating a feeling of being cut shorta rare experience in a world of 23-track streaming albums where you often want less of whatever you are listening to. ![]() Many of the tracks sound like the artist wrote a full-length track and then rendered out a random thirty second sectionalthough perhaps that is the point Take Laurie Spiegels wonderfully crystalline and utopian space opera Fly By, which ends in an abrupt and unsatisfying manner. But while a sub three-second framework requires a total rethinking of compositional time, thirty seconds end up feeling neither here nor there. The press text even mentions Eno's infamous Windows 95 micro-composition. Still, arbitrary track length limitations can be an inspiring compositional tool.
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