delayeds by Simon Aulman

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This album is meant to be even quieter than it is and is ideally played on the brink of inaudibility
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https://www.youtube.com/watch?v=82RpRqA653U
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Said I'd be doing a CDR with every album from now (then) on and I meant it at the time but that was when I thought I'd be doing about one album per month and I still seem to be churning them out far too quickly and even I am not stupid enough to think there'd be demand for physical SA stuff at the rate of one per day blah blah so no, that promise has gone the way of so many others, but its spirit is still around, and I'll do CDRs as often as the world and I feel in the mood for such crazy possibilities. God - maybe never again.
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But the main thing is that I long ago forgot the main reason I started making music on a computer or on anything at all, and it was to make the sort of music that I love but which the world hardly ever makes - the music I love is so so simple and basic that proper musicians don't even consider it to be music - it's not something they ever release.

Deep down I really love very very simple repetitive quiet music that consists of almost nothing. Which sounds like I'm describing minimalism. And I am, a bit. But it's a bit more focused than that. I don't love that John Cage thing that's just silence, I don't love some clever thing from a bloke in a cool part of London in an art gallery that no one visits that's just one note on a piano per minute for 893 days.

The sort of music I mean is the kind of stuff that Marow sometimes made, it's the stuff that Oval occasionally made. I've stumbled upon it from others too. Not very often. Hardly ever really. Obviously, probably part of the reason no one makes the kind of clean simple airy beautiful music that I love is that it always feels like the halfway stage to somewhere else - like a half-built house that no builder would put on the market.

Another reason that it hardly exists anywhere is that even if your whole purpose one day is to make music exactly like it, it takes a lot of bravery to know when to stop - it is sooooooo tempting to just tweak things a bit to make them "more interesting" - and that whole "more interesting" stuff/complexity is what instantly kills what you were aiming for. These pieces, for example. They're more complex than I hoped for. Nobody's fault but mine.

If only I was more connected, had more distractions - then I might be making one of these pieces of music and get an interruption half-way thru and when I came back to it I'd find that it was already perfect and I'd been inadvertently stopped at the right moment.

But I don't do/have much that distracts me this bank holiday monday. So these pieces are all much more cluttered than I'd wanted. Music is a beautiful lover and it's hard to control yourself - to squeeze, to pull back, to go an extra date or two without taking things to the end - these delayed and aborted ejaculations aren't as delayed or aborted as I wanted.
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(recorded 3rd May 2021 - these tracks were made from excerpts from "After Lunch" by Katharine Eastman)