For the sake of disclosure let me state that Paul and I went to high
school together. We skateboarded and also listened to a lot of similar
music. Among the shared interests musically was Skinny Puppy, Ajax,
Ministry and many others. But in the foregoing list it is clearly seen
that seeds were planted.
Global Crash eschews traditional musical
norms. In response to my round of questions, I was given to understand
that he considers himself to be more of a sound engineer than a
musician, but I feel that the proof of his intuitive musicianship
indicates that he is more of a "musician" than he may realize.
my questionnaire, which was posted as a separate blog on myspace, I
inquired as to musical schooling. The answer I received was most
telling, which pointed out a mentality that has confronted my very
existence forever. The fact is, that as much as I am glad to be
"trained" in this art, too many academic musicians ruin the experience
with their snobbery. It was put to me that Paul was told that his style
is not real music. As if being knowledgeable confers upon one the right
to DECLARE what is valid in art. How is this not real music? It is
sound organized through time, hence music.
The production is of a
type I have heard referred to as "continuous mix", meaning that there
is no break in the songs, no silence between tracks, so those
interested in specific track divisions and the like need to pay real
close attention to the track numbers. It seems to me that this relates
to the type of production that occurs live, and also supports the broad
rhythmic conception nicely. The primary instrumentation is
keyboard/drum machine, with enough sampling and secondary
instrumentation thrown in to provide variety.
plans for Global Crash are to keep expanding, to continue on for as
long as possible, distributing his music himself until he finds a bigger
outlet. His other goals are to do soundtrack music for films, etc. He
is also interested in securing a DJ gig at a club and doing live
performances for fashion shows, art exhibits and the like. Anyone
interested should look him up.
check him out at www.myspace.com/globalcrashmusic
Posted by paul paradis
The area where Global Crash and its creator
Paul Holder reside is near the ocean. I have spent alot of time living
near the ocean and something about this music makes the same impression
on me, one of deep, unfathomable space, uniformity of space,
timelessness. There is a sense of gravitation, the feeling of looking
out into the ocean late at night and seeing no clear division between
land and sea, only a black, endless uniformity. Standing too long
staring, one feels the pull of the tide, as though it might suck you
into its void, string you out in its limitless blackness. This is the
type of impression Global Crash has on me. As if I might possibly get
caught up in its aural net and sucked in by its subtle, imposing
I do not want to give the impression that this music is
dark or negative in any way, as there is nothing "evil" about it. The
forgoing bit of exposition is simply an attempt at describing the
overall effect of this musical impression. It is "quietly active", and
pulses with a life all its own. One could possibly dance to this music,
but it possesses such a contemplative, meditative quality that it seems
better suited for those types of activities. It would translate even
better live. We feel that this would be great "cool-down" music at a
rave or something similar, as its broad rhythmic conception, though
supported by traditional "techno" drum sequencing, is so gradually
paced that one never feels frantic or jumpy, but rather lulled.
A review of my cd "Fragility in technology" by http://www.mymindisamuffler.blogspot.com/
Wednesday, December 17, 2008
Hello again and welcome back. This next review is about the music of an
old friend of mine who goes under the moniker of Global Crash. This
music is what would be categorized as "electronica". Unfortunately, I
am not a fan of that term. At all. But you get what I am driving at.
This man's conception is highly eclectic, encompassing a wide variety
of styles ranging from trance to progressive house and breakbeat
techno. It strikes me that the trance ethos pervades the whole thing,
because of its overall hypnotic quality and broad rhythmic structure.
Sonic events, once unfolded, will persist in the airspace for a while.
Usually there will develop a matrix of sorts that will be comprised of
a few of these sonic events. From that point on this grouping will be
subject to myriad subtle nuances in terms of rhythmic structure,
timbre, etc., that will eventually move the grouping to another place
entirely, securing a type of "perpetual development", eventually
arriving at a new point of departure. On and on this process persists,
creating broad canvasses painted with large strokes.
The resulting picture is one of zen-like simplicity, seeming at times
to revel in the sake of its own existence, existing solely for itself,
6-What influences you?(musically or otherwise) Well everything really, I know that might sound cliche or too general, but it's the truth. But mainly I would say music influences me. I'm constantly buying(that's right I said buying, not downloading)new music of current bands past bands, I can't get enough of it, I'm a music junkie. Plus I read a lot of music magazines. Also I have worked in three different independent cd/record stores since 1999, so I have heard all sorts of music. The true pioneers and innovators of music and inventions have always inspired me from Hendrix, the Beatles, to Brian Eno, Aphex Twin, Kevin Shields(of My Bloody Valentine) to Alec Empire(of Atari Teenage Riot and Digital Hardcord Records) to Japanese noise artists like Masonna and Merzbow to Leon Theremin who invented the Theremin to Robert Moog who invented the Moog synthesizers to Stephen Merrit of the Magnetic Fields, I could go on forever. I definetley like extremes. Then certain art and philosophies of art inspire me like the DADA movement, and Andy Warhol's Pop art, and the visceral catharsis of Van Gogh and Jackson Pollock. My influences are all over the place. I watch alot of documentaries too, I just like learning. But some of the music that has inspired me to make music would be: The Chemical Brothers, D.J. Shadow, Brian Eno, Aphex Twin, M-ziq, The Orb, Atari Teenage Riot, My Bloody Valentine, Nine Inch Nails, Skinny Puppy, Godflesh, Beck, Mouse on Mars, Future Sound of London, Ltj Bukem, Seefeel, M.I.A. and Diplo, Flying Saucer Attack, Bowery Electric, Slowdive, The Cure, Alec Empire, Paul Hardcastle who did the song "19" which was really the first song I heard incorporating samples, it contained samples of dialogue about the Vietnam war. Emergency Broadcast Network for the rest go to my myspace page or my facebook page I'm done.
4-Have you studied music formally? Only a very tiny bit. When I was 13 I got my first electric guitar and an amp, and I took some guitar lessons, but I found it too rigid and constricting. My teacher would always yell at me, saying I didn't practice enough, so I quit the lessons. In college I tried to take Music Theory lessons, but I found it too confusing, and at the same time I was going to be taking a MIDI course with the same teacher, but he told me I shouldn't be in the MIDI class without proper music training. He was an asshole, I told him what kind of music I did, and he said it wasn't real music, and that making music without proper training was like attempting to drive a car without any lessons. And I thought that was pure bullshit. I also took some music history classes. Of all the music classes I tried to take and lessons, no one was ever giving me any sort of approval, just focusing on the negative like most people end up doing. No one ever would really tell me it could be about creativity or spontaneity, so I didn't care. I burned the manual a long time ago, and haven't looked back. But I do know this much I have had friends tell me that I have a great sense of rhythm, that I know time signatures and how to keep a beat. Plus I had once dated a girl who was an accomplished flute player, we had gotten together years after we had broken up, and I played her some of my stuff, and she was really impressed, she said it was very sophisticated sounding, like that I was using things like counterpoint and I didn't even know what counterpoint was.
5-What are your long range goals for this project? Well my goals for this project would be just to keep making music, the best I possibly can in varied styles of techno and electronica and ambient, and whatever other genre I feel like doing and just distribute it myself for now, if something else happens then that would be cool. And to hopefully get gigs and play out live at venues or wherever. I would really like to do music for films, and sound effect type work for movies. And do live performances for fashion shows or art exhibitions and for gallery's. And also I would like to put out dj mixes under the Global Crash name and hopefully get a regular gig at a club or venue somewhere just spinning the music I like, and I think that other people will like. And also at some point in time I would like to work with some vocalists. Also I really want Global Crash to become a visual entity as well, with special emphasis on the cd designs and live show, with images I create.
2-Did you play all the instruments yourself? Yes I did, except for the samples I used of drum loops, and different loops. I mean electronic and techno music is different from other music, I mean your more of a producer and sound engineer than an actual musician. But there are electronic acts out there who are musicians and are classically trained and very talented like BT or Squarepusher just to name a couple. But I'm just saying that what I do and how I make my music, I'm more of a producer and sound engineer than a musician.
3-How long has global crash been together ? Well Global Crash is just me Paul Holder. I've been making techno stuff since like 1995. And have had various projects. The first thing I did was I made a sound collage tape called "Disturb the Equilibrium" which incorporated all sorts of sounds, like old instructional records, sound effect tapes, telephone noises, recorded phone conversations, movie dialogue. Then over the years I went by the names Ear Begin Look and Beat Assemblage. I think I came up with the name Global Crash around 2002 or so, I just liked the way it sounded, and it was a perfect name for the type of big beat bombastic style I was trying to make, influenced by the likes of Chemical Brothers, Crystal Method, Fatboy Slim, The Prodigy just to name a view. I recorded tons of stuff since then, and had periods of creative surges and lulls. I didn't really make "Global Crash" official until last May of 2008, when I came across an ad on Craigslist looking for a musical performer for this ECO Fair for a children's school near U.R.I., I had contacted the guy and told him what I sounded like and who my influences were and he said to make him a tape of some stuff. So the cd "Fragility in Technology" is actually the live demo attempt sessions I did over a period of two to three days. I ended up not getting the gig because the guy had already promised it to some band, who he was waiting to hear back from, they sort of had first dibs on the gig. But this really got me back into making music, and doing something with it. So around September of 2008 is when I created a myspace page and designed a cover for my cd and named all the songs,etc. etc.
December 20, 2008 - Saturday Round of questions from http://www.mymindisamuffler.blogspot.com/
A series of questions from my friend Paul Paradis who writes a music blog called
http://www.mymindisamuffler.blogspot.com/ He asked me these questions to better prepare for writing a review of my cd "Fragility in Technology" so hear are the questions and my answers.
1-What interested you in electronic music originally?
Well I was thinking about that this morning, and I can remember being in a music class in Middle School, I was probably between the ages of 10-12, don't really remember what the class was, but I remember being in a music room, where students of band and chorus would rehearse and such, and there was this big electronic keyboard, and I just started fiddling around with it during class. It happened to be hooked up to two large speakers in the room, one on the left and one on the right, and I was playing with a sound, kind of like a helicopter noise, and the keyboard had levers on it that could make things go right to left and I thought that was really cool. I remember the teacher yelling at me to stop and saying to me "that's not a toy". But really what interested me in electronic music, was from the time I was 14 I started getting into very eclectic music like Skinny Puppy, Dead Can Dance, Mr. Bungle, Godflesh, Ministry just to name a few, and all those groups except Dead Can Dance, used electronic instruments in their songs and work, and I heard sounds that I had never heard before from standard rock n roll and pop music and the such. I also started listening to college radio late at night, mainly 90.3 W.R.I.U. and 91.1 W.U.M.D. and (reluctantly mentioning) 95.5 W.B.R.U.(before they became the norm, boring dinosaur that they have now become). 95.5 W.B.R.U. used to have all techno, electronic, house, trance music on Saturday nights and I really liked the music, it was more danceable sounding stuff than what I heard on 90.3 W.R.I.U. On 90.3 I used to hear all sorts of bizarre stuff, the d.j.'s on that station were alot more creative and artistic, they would play more ambient, downtempo, experimental stuff like Aphex Twin, Sven Vath, The Orb, Future Sound of London just to name a few, and mix it with stuff like Captain Beefheart. There was a guy(I forget his name) but he had this great show on there called Chromosome Damage, and he would play the best stuff and mix it very well, typically the aforementioned artists and similar type ones. He used to make mix tapes and sell them at the now unfortunately defunct Fast Forward Records which was once on Thayer St. then moved to Steeple street. That store was a huge influence too, the people who owned the store Ron and Judy were the nicest, family like people, but at the same time they played the most insane, intriguing music. Everytime I went in there, I never knew what I was going to be subjected too. But really Fast Forward was a catalyst for alot of upcoming bands and artists, I used to go there and buy demo tapes, sometimes mixes of local dj's like Venom and the Volume Crew, or just buy some random record of techno stuff. And I guess really at that time I got really inspired by seeing other local people making their own music or dj mix demo tapes and selling them there and at other stores on Thayer Street, that it really seemed like a possibility that (not that anyone could) but you didn't need to be rich or be on pathetic MTV to make music. It was really the whole DIY movement that inspired me. And to truly answer your question, what interested me in electronic music originally was just the different sounds, and the endless possibilities, and the fact that you could sample stuff and do whatever you want with it, it just really fascinated me.