Kylie Minoise
You Suffer

To introduce you to the complete works of Kylie Minoise, I have chosen to consider her most evidently easy listening work, the most conceptually pop: the cover of You Suffer by Napalm Death.

If the project evidently has speculative ends, well anchored to the real contingency of the music business and its customs - having no immediate purpose beyond the celebration of the twenty years of SCUM, commissioned by Kovorox Sound in two thousand seven - it is instead the factual process that projects the operation into the mundane world - in the sense of trivium - of art, applied mathematics, musical metaphysics: a sonic conversion of seconds into degrees, a temporal sublimation into music. One second and four tenths unfolded into one degree and forty seconds.

If the ancient philosophers could have access to this record, they would have known for sure that they had rightly intuited the further, celestial, otherworldly, meta-mathematical meaning of sound.

The not easy task of describing the complex veins, the sound paths generated by the operation, is further complicated by the arising of vision and suggestion, too intimate and individual for us to concern ourselves with here: however, it is undoubtedly an entrance into a feedback-like environment around the forty-third minute of listening, as the shift to dark ambient seems evident starting from the fourth minute, the result of material inputs of a sinister - but identified - provenance: keeping in mind that the spectra are generated by our self when it is subjected to stimuli well connected to reality, I refer back to listening to the original You Suffer to return to the right perspective of procedural materialism, of concrete for the pleasure of the concrete.

The general nature of the work, on the other hand, can only refer to the extreme postmodernism of operations that have crossed the boundaries of concrete music and pure experimentation, to give itself an aesthetic guise of musical lightness. It can only ideally refer, therefore, to the forerunner Metal Machine Music and to the minimalist no wave underground, from which it dissociates, however, by language, by setup and by outcome, which we conveniently summarize in - caps lock - WHITE NOISE AND DRONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONEONE (...) ONEONEONEONEONEONE.

The reinterpretation of You Suffer is respectful and philological up to the silences. The vibrations are infinite dunes and if the songs were solid, this would be a monumental atomic enlargement.

Do not dare to belittle the work of Lea Cummings, because to paulstretch anything we are all more or less capable: to make such well-crafted and pleasing mixes, to perform the concepts, to implement them in the art world, this no. Do not assume the average attitude of those who, in front of the most synthetic Picasso, say they are equally or more capable: because it is the classic attitude of assholes.