Order 3 or more physical items and get 1¢ postal shipping
Michael ZT Rose | Phantasmagoria

Go To Artist Page

Recommended if You Like
Philip Glass Scarlatti Terry Riley

More Artists From
United States - New York

Other Genres You Will Love
Classical: Piano solo Avant Garde: Classical Avant-Garde Moods: Mood: Virtuoso
There are no items in your wishlist.

Phantasmagoria

by Michael ZT Rose

This millennial's silver hammering piano fantasy will blast you back into imagining the piano you always wanted to play but couldn't.
Genre: Classical: Piano solo
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
clip
1. Phantasmagoria
2:03 $0.99
clip
2. Powerblast
2:42 $0.99
clip
3. Claudia’s Birthday
2:40 $0.99
clip
4. Silver Hammer
3:46 $0.99
clip
5. The Long Scream
2:31 $0.99
clip
6. Set One
3:51 $0.99
clip
7. Post Cloud
3:44 $0.99
clip
8. S Phase
2:47 $0.99
clip
9. Unnamed
1:09 $0.99
clip
10. Tuning Fork
3:47 $0.99
clip
11. Expanding Chords
1:12 $0.99
clip
12. Butterflies on the Plateau with Bison
1:36 $0.99
clip
13. San Miguel
6:30 $0.99
clip
14. Selections
3:49 $0.99
clip
15. In Waves
3:15 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
BIO INFO

Michael Zachary Thompson Rose, born 1990, Boston.

Grew up just outside of Boston in Cambridge, MA.

Raised by Architects.

Has been a visual artist since first memory.

Studied painting at the Rhode Island School of Design. Graduated 2013.


STARTED WRITING MUSIC IN 2010

At the age of 20, Michael suffered appendicitis. During his time in bed after the surgery, Michael first picked up the computer as a means to make music. He became obsessed, and upon returning to art school devoted as much time as possible to writing music and his own explorations into music theory.

Michael is an autodidact and has no formal training in music.



WHY PIANO

Initially interested in synthesized sounds, Michael was eventually drawn to the piano because of its simplicity of sound. He began creating works focused specifically on pitch and rhythm—as opposed to thicker synthesized sounds which focus on texture.

The piano sample used throughout Phantasmagoria is plastic and simple, very flat with little inherent emotion or quality. I would say this piano is the most basic possible instrument, allowing me to focus exclusively on form.



HUMAN IN THE DIGITAL AGE AND LIMITLESS POTENTIAL

The work considers the stark counterpoint between the digital performer/instrument and the organic mind that creates, and the organic mind that listens (to the finished music).

It is all about the experience of the organic individual within the digital

The use of the computer is the use of the final tool. The next tool, being strong artificial intelligence, will transcend toolhood. Strong AI will be the last human creation. After the singularity all inventions, all music etc… will be created by a computer.

Much of my process is only possible because of the limitless potential the computer provides: the absence of physical limitation through the computer. The outsourcing of the physical.


INSPIRATION FROM NATURAL PHENOMENON

Theoretical physics. Especially quantum physics: wave particle duality. I like to understand layered notes as superpositioned phrases, all creating an interference pattern. Phrases phasing in and out of synch—considering waves in the electromagnetic spectrum or in a swimming pool.

The double slit quantum eraser experiment and its implication of consciousness.

Emergence phenomenon. Unique phenomenon emerges from irrelevant entities. Consciousness as emergent from non-conscious particles. This correlates to “music” emerging from a swarm of notes. The emergence of music out of single notes reflects the emergence of mind out of particles.

I find that these inspirations coalesce into a kind of Scientific Romanticism. Theoretical physics, theories of consciousness and emergence are to me as the landscape is to Rousseau.
The incomprehensibility of the universe as the sublime, which I process through music.

INSPIRATIONS FROM CULTURE/SOCIETY

Information overload. Interested in overstimulation in current society. Resulting in positive (as in +, not as in “right” or “just”) censorship—where nothing is actually censored, but less powerful voices and ideas cannot be heard over the din.

Exploring overstimulation and information density through the music. —Not specifically as critique however, and just as importantly as an exploration into the beauty and sublime of the stimulation overload. Formally this mirrors the minimalist obsession with the negative (american academic minimalism, house music, most philosophies and religions encouraging serene contemplation as means to understanding).

INFLUENCE OF MINIMALISM

Influence of John Cage and the other “spiritual” and minimalist composers such as Reich, Riley and Glass. I sometimes share their goal of spiritual experience or deep indescribable understanding through music, however the means are often reversed: Constant change as opposed to repetition, and positive space as opposed to negative space to catapult/blast the listener to the “divine”/transcendental experience/abstract knowledge, understanding.

In regards to maximilism I take some inspiration from old harpsichord music: Scarlatti; and Geminiani. And from medieval choral music, which is also “spiritual” music, and functions through a kind of spiraling, discombobulating mist of sound.


INFLUENCE FROM VISUAL ART

Instruction based art—Sol Lewitt. Here there is a strong overlap into Terry Riley.

Strongly influenced by Abstract Expressionism and Automatic Drawing. — deKooning, Gorky, Pollock.


EXPLORATION OF MIND

The music, at times is about the experience of consciousness. Exploring mental states and the stream of consciousness. Exploring the formation of ideas from thoughts, and the origin of thoughts in the mind. A linear train of thought corresponds to linear music.

EXPLORING AUTHENTICITY

Sampled piano sound, coupled with quantized computer performance. The music is sculpted to sound spontaneous. Here I also consider the Abstract Expressionists and how they labored over a piece to make it appear spontaneous.

Considering the possibility of improv.


PROCESS

Extremely open ended. Many songs begin with a sequence of rhythmic experiments and permutations.

Occasionally I will work in a different way:
I will set up system of instructions, or governing laws to define the pattern. And then use this system to arrive at musical phrases.

I may write an extremely long, drawn out body of work and then condense it. Often imagining the same phrase in a number of different ways, then picking a single permutation to build the song around.

This is almost like creating a world, and then photographing it. Creating a world of sound and then cutting out islands here and there, and connecting the islands with bridges.

Working on the computer allows me to understand music visually and tactilely—it is not ephemeral music. For me it is just as much an object as an experience. And I do try to write music that transcends into objecthood. The third movement of Beethoven Sonata No. 14 inspired me as a visual artist for this reason. To me it seemed to transcend melody and become a physical object. As a sculptor and painter this movement provided formal inspiration and continues to do so as a musician.

IN RELATION TO POP AND THE INCOMPREHENSIBILITY OF THE UNIVERSE

I do admire how pop does get to the point very quickly, however I dislike how it repeats that point over and over again, and how easily the music can be understood. The more I learn about physics the more incomprehensible the universe appears—I think my music reflects this, so that the incomprehensibility of reality can be communicated.

In writing this album I was interested in creating music that I couldn’t understand so easily.

In general I find pop music to be prudish, like music with its clothes on. Unadventurous. I think it makes people complacent on a deep unconscious level, can stagnate the individual and society. Can become a resignation to the mundane.


IN RELATION TO CLASSICAL AND NEW MUSIC

Like popular music, I do want my music to get right to the point. There are often sections of New Music composition that I think are profound, but I often find that they are sandwiched between areas of low density and waiting. I wanted to make music that only dealt with the dense and profound.

I investigate formal concepts from the past, Covering themes of cultural inheritance and how form and meaning changes alongside cultural context.

IN WAVES (song)

Here I am explicitly exploring the counterpoint between the digital and the organic. The organic human mind in the digital world. One piano part is computerized, perfect time and dealing with incredible subtlety. The other piano is freehand, one take. The Human voice as the self in the center—one take by the composer, not comped or overdubbed except for the backing vocals.


WHY WRITE?

This is the music that I wanted to hear.

Can be to create my own fiction, or to avoid reality completely. It is not that the world is too dull or intense, it is just not everything we wanted.


PHILISOPHICAL INSPIRATION

A major influence, and impetus to continue to write the first movement (Phantasmagoria, Powerblast, Claudia’s Birthday, Silver Hammer) was Telemorphosis by Jean Baudrillard.

Read more...

Reviews


to write a review

Troy

Davenport
Excited to be the first to review this work. Intrigued by the ideas expressed in the tape. A lot of modern takes on classical structures. Cool.
Read more...