Pre-apology for the long-winded answer...

[sk-1 <sk-1@xxxxxxxxxxxx>]

Hello Kim,

	Music isn't necessarily a background element as it is often considered. I
find it more a way of getting to know the mind-workings of a composer.
Whether it be a whisper or a scream, it is a voice that stirs from amid a
canvas of sound. For this reason, I devote to sound, the attention that I
would in listening to any lecturer. Conveyers of a verse, when blessed with
the devotion to their sound and message; as well as the ability to
manipulate a series of levels reflected in the sound can seize a listener
and speak in a language not known to all. Somewhat like "letting you know
what is on their mind" at that point in time. 

	The slow grind I spoke of earlier, has less to do with a _specific_ sound,
than a method of serving a combination of sound levels to the ear.
Shuffling anything from a drone to a gritty piece of static and layering it
into an atmosphere surrounding the receiver through the use of loops or
methodical pouches of sound- is what I speak of when I refer to the grind.
What may sound like simple repetition, (bordeom to the non-fluent) is
merely a veil that through perpetual motion reveals the verse of the
composer. Brinkmann uses such methods to build his sound; Voight (Gas
series/Mike Ink prod.) also grabs you my the brain ... They make you dig,
but once you are able to taste what it brings you, you'll appreciate it
always.

	Sorry this is so long and drawn out. I am writing a paper at the moment
(hence the excessive babble); listening to Autechre (see previous
explanation); Oh... and I love the subject, so I tend to go on a bit.

Take Care,
Sarah
____________________________________

..avoid chatter.appreciate substance.