To create this experimental composition I used a creative technique known as databending. It seemed to be a reactive approach to a composer to break free of convention and help me to create complex sonic artefacts such as slow drone sounds, raw bass tones, error buses and a lot of corrupted glitched sounds that have no immediate relation to melody or tonal narrative, allowing any kind of interpretation.
Many glitch sounds reflect a stripped- down, anechoic, atomic use of sound. This is a clear indication that this composition has become fragmented, and is composed of stratified layers that intermingle and defer meaning until the listener takes an active role in the production of meaning. The random process of this composition creates the idea of surprise and the sense of not knowing theoutcome of the music as it becomes complex and reflects the idea of how we genuinely struggle to understand ourselves and how can we relate to art itself. It naturally arises from a creative chaos, as it mimics our situation and guide us to perceive its variations, how we relate and detach with society, environments and beliefs.
And then the epiphany happened, the transcendent moment when surreally beautiful overtones and harmonics seemed suddenly to descend on a bed of deafening noise.
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