‘Extensionalists’ who assert that “ε(0).ε(1).ε(2) and so on” is an infinite logical product (PG 452) assume or assert that finite and infinite conjunctions are close cousins—that the fact that we cannot write down or enumerate all of the conjuncts ‘contained’ in an infinite conjunction is only a “human weakness,” for God could surely do so and God could surely survey such a conjunction in a single glance and determine its truth-value. According to Wittgenstein, however, this is not a matter of human limitation. Because we mistakenly think that “an infinite conjunction” is similar to “an enormous conjunction,” we erroneously reason that just as we cannot determine the truth-value of an enormous conjunction because we don’t have enough time, we similarly cannot, due to human limitations, determine the truth-value of an infinite conjunction (or disjunction). But the difference here is not one of degree but of kind: “in the sense in which it is impossible to check an infinite number of propositions it is also impossible to try to do so” (PG 452). This applies, according to Wittgenstein, to human beings, but more importantly, it applies also to God (i.e., an omniscient being), for even God cannot write down or survey infinitely many propositions because for him too the series is never-ending or limitless and hence the ‘task’ is not a genuine task because it cannot, in principle, be done (i.e., “infinitely many” is not a number word). As Wittgenstein says at (PR 128; cf. PG 479): “‘Can God know all the places of the expansion of π?’ would have been a good question for the schoolmen to ask,” for the question is strictly ‘senseless.’

Quoted from this site, dealing with Wittgenstein’s philosophy of mathematics. Infinity is not a quantity.

If you enjoy this album then I nearly feel sorry for you, for you must know the truth in agony. But I can’t be sorrowful, because I love it as well. But still, whether or not one “enjoys” an album like this, or rather extracts from it the immense devestating potential that lies within oneself, I am unsure. Typical of Neurosis the lyrics are always symbolistic and obscure, yet an ongoing theme throughout is the fusion of alchemic and occult themes of empowerment with apocalyptic warnings. A typification of this is the highlight song ‘Locust Star’, which ends in theorem “That which is above…” powerfully growled by bassist Dave Edwardson.

I think Through Silver In Blood (released in 1996) feels more epic than  Neurosis’ previous efforts, which says a great deal. This is a band that has yet to fail with a single release, and has been at it for 25 years. Enough talk, here’s the piece of art that is Through Silver In Blood; it may be one of the best and heaviest albums ever created.

Download (mp3)

There really is no use in applying genres to describe this piece of art but if I had to categorize, I would probably say something like a beast between experimental, ambient and drone, with a hint of noise. The work sounds at times like a distilled version of Soundtracks for the Blind by Swans, yet there are no vocals, no drums, only soundscape and ambience.

As I said before, I often find myself bored by more ambient (drone, noise, minimalistic) types of music, but that is not because I can not appreciate more artistic genres. It is because too often the artists in that genre falls into an unimaginative circle and forgets that their work is supposed to be listened to, as opposed to being valued based on some other criteria. As an extent they tend to burn some bridges and really narrow their playing field, betraying their experimental intent in the process. But really, that scenario often seems to be the case for other genres and artists as well, unfortunately.

I think I’ve done enough soundscape type of music for a while, and will continue with promoting more from the brilliant people behind Tribes of Neurot in their other projects. For now, though, I recommend you this album.

Download (mp3)

I must admit that I am occasionally bored with minimalist ambient music, but Fovea Hex manages to keep the interest of the listener with protuberant vocals and layered folk melodies. Unlike certain other minimalist artists the result even feels deep and thought provoking. After request the download has been removed, but  the music can be previewed on their website, where also FLAC or MP3 can be purchased. Like everything I’ll promote on this site, it is highly recommended.

Website
Last.fm
(Download removed upon request)

I decided to choose this as my first upload because it has been, since the day it was released, perhaps my favourite album. I know it is not a particulary “rare find” or anything like that, and will in the future try to spotlight lesser known, but still great, works.

Download (mp3)

When it comes to music my taste tends to be rather bleak, dark and, at times, oppressive. However, I rarely focus on sound alone when listening to music; more important than heaviness to me is the intent behind the music, as well as the form of the music being played. By intent I mean the goal of the artists in the making of their art. Do they wish to tell stories with their music, or do they wish to express moods? Do they wish to follow their own plans and construct music in order to express their own stories, or do they instead plan to follow the music alone and enjoy the ride wherever the rationale of musical organization may take them?

The form of music, to me, is something which transcends “sound”. If you think of music as an efforted organization of sound, then I view the level of organization as the form of a musical piece. It can be minimalistic, whether intended or not, for example. Although “sound” (by which I mean for example “cheery and light”, or “bluesy”, or in D minor,) is certainly a part of musical organization, it matters by no means everything. Therefore form transcends sound. Other elements of the form of music are rhythm, structure, harmony, melody, lyrics, timbre, etc.

Although I have a particular interest towards the organization of music, the form, it does not follow that I only listen to music with complex form. Complex form is not the only form with the ability to awaken an interest. Any musical art with form fitting the intent of the work is one worthy of attention. And, perhaps most importantly for me, although it has certainly “narrowed” my musical taste; vice versa, intent should fit the form.