If you were to describe what music is to a foreign invader from the outskirts of the Milky Way, you would probably be using words like rhythm, harmony and melody; and you wouldn’t exactly be wrong. However, those are aspects of music that tend to dominate more commercial sounds because the record labels are more interested in accessibility and profitability.
But music doesn’t always have to be like this. There have been many occasions where boundaries have been pushed and stretched in search for a sound that is genuinely experimental. In the mid-20th century, experimental music started to arise thanks to the pioneering works of people like John Cage (an American composer and music theorist). We’re not talking about indie, progressive or alt-rock here which are all more conservative variations of experimental. We’re talking about stepping outside the boundaries to play with dynamics, texture and timbre.
Unfortunately, in a world that is struggling to cope with the current economic issues, there aren’t many artists prepared to sacrifice their lives in search of Art; especially in music. Christian Fennesz is one of these few people though. Despite being around since the 90s, he is largely unrecognised for the soundscapes he has created. He develops the kind of music that film producers simply dream of; and in AUN (the OST for AUN: The Beginning of the End of All Things), he has done just that. It’s less glitchy than his studio albums but it still carries those same majestic textures and eerie tones that is synonymous with Fennesz.