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Meaningful Human Control

by N O Moore

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side 1_1 04:23
side 1_2 07:28
side 1_3 04:25
side 1_4 05:47
side 2_1 09:39
side 2_2 11:37


N O Moore guitar, drum and bass programming

The brain must get wired early on to hear rhythm.
Otherwise, it would just sound like one thing after another.
Finding consistency in sound is always a challenge once a steady pulse has been removed: what makes a piece of music has to be drawn out from other elements.
It doesn’t really explain things, but communication often makes a piece a piece. But, then again, what about solo work or, as here, dealing with something that will not respond? Communication might not be the key either, but it can certainly be an interesting, and informing, method.
Back to rhythm.
Here, a particular sort of rhythm, not uncommon, structured around repetition. It provides an interesting conundrum for the improviser who, generally, steers clear of repetition. That is an interesting tendency: why the avoidance?
Certainly, there are current examples of those who are finding ways to deal with repetition; in a sense I suppose this recording is an example of that as well. Maybe repetition was linked to something spiritual or transcendent, but today, perhaps repetition is closer to things breaking down: ‘does not compute’. That’s interesting too.
Or, a sort of immanent reproductivity, ordering again and again: ‘again!’

A long time ago, I wrote to Derek Bailey asking for a guitar lesson. I visited him in Hackney: ‘Bring any instrument’.
He made tea, we spoke, he recorded it. The instrument stayed in the case.
It was a good lesson – I realised I was not ready.
A bit later on [in 2000], an opportunity arose to work with him – the resulting track is included here as a ‘bonus’. I did the electronic sound and DB did the guitar.
[originally released on a compilation for Aki Nawaz's Flo label]
The rest of these tracks were made over the past couple of years.
I had in mind to do a ‘Guitar, Drum & Bass II’ album, in recognition of DB’s influence (that influence coming predominantly, of course, through CDs and recordings).
Also, Pat Thomas’s album, ‘Remembering’, was lent to me soon after it first came out – at the time of writing, it has just been re-released. That provided more encouragement.
Credit to Remarc, Photek, and Krust, amongst others...
The guitar parts were overdubbed in one take, first take. That keeps, to my mind, a commitment to a certain idea of improvisation. That’s worth thinking about too!
[N O Moore]


released January 2, 2023

drum and bass recorded 2018-2022 in Llanfechain and Cambridge
guitar recorded September 2022 in Cambridge

mastered by Jim McEwan


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