The Never Ending Album is a
Soundcloud stream that will be continually expanded for as long I can
make music. It's a dynamic album - traditional albums are now largely
made redundant by the internet. This aims to marry the curatorship of a
traditional album with the internet audience’s need for continual
content.
These are my favourite tracks from my own works that I'll keep adding to as I deem something worthy.
If
you enjoy the work here and would like to help me make more you can
purchase my music from a range of online retailers as listed on my
website:
brunkard.com/where-to-buy-a-never-ending-album/
You're support be it by liking, commenting or buying is heartfelt and appreciated.
Read on to know more about the tracks that so far are the components of the project.
The music on the current audio stream encompasses a set of most frequently-, most willfully visited genres, as your host, Thomas Brunkard seems to have an optimally insatiable fascination towards certain musical rhetorics. He is compositionally mature and competent on the respective fields on how to assemble a classical piece and make it wink toward spaghetti western and film noir flavors - an Italian guy called Ennio Morricone did essentially the same and garnered extreme attention and recognition in the process, which clearly shows how legitimate this idea is. The relentless creative intention of creating and efficiently showcasing intersections between classical/noir/spaghetti/cinematic/experimental music, was ever-present right from the moment these genres could be regarded as "separate" styles. (Since, in reality-, or, in "simulity", nothing is separated from anything else, yet the concept of the gap is primordial, so happenings, occurrences, precedents and percepts aren't forced to bash into each other, creating randomness and chaos. The integrity of data is preserved through its separation. Ironic. See? See??)
As such, there is only 1 type of music - called "just music" - seeking to express itself via its resonators in whatever shape or form it feels obliged to, as result/per command of the individual musical awareness of its resonator. FEAR the talent show! As we have seen-, or at least proclaimed, the music you play is logically indicative of your awareness of music, and, since Thomas Brunkard shows exceptional aptness at delivering top level patterns that intersect classical/noir/spaghetti connotations, his work already is a safe recommendation to a diverse set of potential listener prospects who are equally willing to LISTEN, too. In the days of the information age, the creation of superb music is not enough. You need to create the listener, too.
The music on the Never Ending Album stream not always is in the hurry to satisfy the "multigenre" criteria systems that I've been telling you about. Sometimes Brunkard is "just" classical, but, to tell you the truth, he is not a tad worse with the genre than famous classical composers are with it. Chunk of sounds coming in along expectable time intervals, seeking to collide with stimulus receptors in an attempt to facilitate the expression of the essentially same musical meaning. This is a trait of stone traditional classical music, and also one that only the most talented and most wicked extremists dare to deviate from - "teh" Chopin, for example!
Thomas Brunkard employs a quite similar, interesting and
surprisingly effective strategy whenever he abruptly - and astutely -
claims a chunk of indicative meaning out of classical music, almost
depriving the pattern from the "then-optimally-abused-classical-music".
Notice how classical music gets almost "playfully prostituted" - if
there could be such an act at all - by this clever creative machination,
because one of classical music's safest charms, one of its safest
concealments - the safety of relying on certain notes, phrases and
pacings only - just got zoomed on to see what REALLY is behind it, IF
anything at all. This bravery and musical curiosity is commendable, as
it is no longer ambitious to come up with "just" classical music,
because you'll have a legendarily very hard time doing it any "better"
or more thoroughly than Bach. (Once the theoretical and technical
barriers of "what I can express" is lifted, there is no "better" music,
only "more honest" and "less honest" music, and musician with more
awareness, and musician with pathetic awareness.)
Brunkard finds ways of entertaining the reality fabric with quite relevant musical discoveries, for example: as he starts to play an acoustic guitar solo on the naked classical pattern he just claimed out of its direct anatomy, Brunkard essentially is showcasing that, if you are aware enough, AND know where and how to look for it, then only beauty remains really, no matter what you take away from the intentionally constrained classical music components, because music IS beauty, essentially. You just have to give the right compliments, the right sounds to what is on display. (The harmony is on display, which is the metaphoric equivalent of female flesh in this sexist analogy, yes.) Beauty is meaning, and music always seeks to mean something to someone. If your music is not of such intent, then good jaub!
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