Call me dumb but I never wonder how it is that Mills music is considered in such theoretical terms, even he speaks of it in this way. I guess if I composed I would be very intuitive and mood-based and think not in terms of theories but emotion and experience. Not that it would like conventional soul necessarily but that would be the driving 'scale' if you like.
If I were sad I may compose something melancholy, if I were angry it may reflect that, or ambivalent, or just longing, etc. Or maybe the opposite or maybe convey mixed emotions. It amazes me how when you question Mills about this, even in a theoretical and non personal way, he deflects it. I think this is why May and Mills work so differently as producers and also why I never believed Every Dog could be a collaborative effort between them. When I have time to fully transcribe the interview I did last April maybe you will see what I mean. This is the aspect that totally beguiles me about Mills' work. It has so much soul but he is almost thinking beyond the notion of 'soul'. If this is stream of conscious, forgive me. >>Not to boost my own theory here, but Mills captured, to me, the sounds of >>what toneshifting sounds like in these three tracks... > >Have you listened to any of his Purposemaker releases? There are some >amazing sounds here which I believe are the essence of your theory. At least >this is the stuff that instantly came to mind when you first raised the >issue of "toneshifting". Insane funk. > >Respect >JasonB >np: Spacetime Continuum - Sea Biscuit > >--------------------------------------------------------------------- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] >
