A Few Scenarios of Military Interference,
or Obsessive States For Mixed
Cast a-moll
Minimalism here develops into obsessive sound
and visual hallucinations, which is very typical of NAE.
Music material is subjected to a peculiar abortion as a result
of which both positive human emotions and all the sounds of
chromatic scale have been abolished. The three left notes
(gis-a-c) have become the main and the only constructive
element round which sound and visual events take place.
For example, a bayan-player, numb from a continuous and
motionless sitting whose presence cannot be explained by
common logic, from time to time turns the mask of a
smiling Chippolino towards the audience and plays with stiff
fingers something from Mozart or Kamarinskaya. Or a
cymbals man with a bald and shining skull appears on the
proscenium to make his only circus blow, and suddenly
starts tap-dancing.
These short-time flashes of hebephrenic joy,
which looks similar to a torture, fade away instantly, slowly
plunging into usual narcotic rigidity. But it is well known that
lingering in such conditions is fraught with strong
destructive consequences. All the NAE scenarios develop
this "clinical" way. Electro-guitar solo is a highly impressive
by its destructive force episode where anti-technique
principle is carried to the impossible limit: one can find no
rhythm, no harmony, no verticality or horisontality -- only
howls and roar which wipe off everything on their way. The
culmination is represented by a powerful picture of
stupendous man's sobbing and roar of percussion orchestra.
And then comes complete silence and absolute rigidity. Only
people in sinister onion masks on their faces continue
swinging their arms mechanically, resembling Chinese
porcelain little blockheads.