[TR24][OF] Ash Koosha - Guud - 2015 (Electronic, Experimental)

foobar2000 1.3.8 / Dynamic Range Meter 1.1.1
log date: 2015-07-08 10:45:18
--------------------------------------------------------------------------------
Analyzed: Ash Koosha / GUUD
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR4 -0.46 dB -6.01 dB 3:58 01-I Feel That
DR2 -0.20 dB -5.28 dB 2:12 02-Could
DR3 0.00 dB -4.36 dB 2:10 03-GUUD
DR2 0.00 dB -3.59 dB 1:51 04-Bo Bo Bones
DR4 -0.34 dB -5.25 dB 1:57 05-Stain
DR3 0.00 dB -4.57 dB 1:28 06-JamJamJam
DR5 -0.45 dB -8.73 dB 3:11 07-Kernel
DR4 -0.27 dB -5.82 dB 2:32 08-Other
DR3 -0.26 dB -3.73 dB 3:12 09-Phorever
DR4 -0.43 dB -5.65 dB 2:29 10-Mast
DR3 -0.29 dB -4.39 dB 4:32 11-SlamSlamSlam
DR2 -0.42 dB -5.01 dB 3:12 12-Wait
DR4 -0.14 dB -5.08 dB 2:23 13-Tash Tack
DR2 -0.37 dB -4.25 dB 2:20 14-Le Lick It
DR3 0.00 dB -4.13 dB 3:22 15-XXXL
DR4 -0.07 dB -4.51 dB 1:52 16-Harbour
--------------------------------------------------------------------------------
Number of tracks: 16
Official DR value: DR3
Samplerate: 48000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1895 kbps
Codec: FLAC
================================================================================

Tehran-born and London-based, Ash Koosha creates music that is stripped of genre, style and conventional structure. His training in classical music and his interest in computer music from a young age has equipped him with necessary tools to construct, break, form and deform at the same time. The result is sound that is fragmented, unearthly yet natural, collage-like yet seamless.
His latest work, GUUD is a sonic experience, where classical variations and harmonies meet manipulated sample grains. It is a field, a ‘place where he deals with scientific and psychological questions’ and where he manipulates his senses by creating a synesthetic experience. He understands emotional and physical limits and pushes those emotions to the extreme without the extreme effect, as he simulates the sound of exploding speakers or collapsing percussion structures in a listenable frequency. It is by treating sound as physical matter that he can then apply a simulation of physical forces to it: shattering, positioning, joining, liquifying or pressuring.
One of the ideas that Ash has introduced in GUUD and will be further discovered in his future projects, is ‘nano-composition’. Born out of his obsession with scale and based on ideas explored in nanotechnology and quantum realm, nano-composition can be defined as creating a composition, based on the sonic behaviour of fractal patterns that exist within a stretched or rescaled sound wave but without pitch alteration. It is visually treating grains in wave forms as particles and create sonic ‘events’ within that wave form. Although these events are controlled and structured by the composer, their randomness and internal chaos offers an element of singularity and rarity. It is a deconstruction of what is conventionally and sonics-wise ‘good’ music. GUUD is ‘good’ without the perfection of perfectly round ‘o’s.
Источник: Bandcamp