The Madeups (2002)
The paradox of free-music is that you can never achieve a wholly free improvisation. Your ideas have to come from somewhere and that somewhere is a cesspool of idioms and cliche. So naturally what you try to do is something which I call multiple fragmented perspective amalgamation. Imagine a portrait of a man's face, painted from all sides, all combined into one image. Space does not allow you to have all perspectives represented equally so thus each perspective compromises itself and becomes fragmented. The result is something nearly unrecognizable, it is a mural of familiar images cut into such tiny pieces and rearranged so that it becomes nearly totally unfamiliar. And nearly totally unfamiliar is the best free-music can aspire to as well. But it also represents reality much better than anything we're used too.
I recently read a quote defining good art as "that which reflects the viewers perspective most accurately back at him." Now take that same man, and make a painfully thorough documentary on his character. Make sure you interview everyone, and leave out the boring crap that everyone feels they have to say. The result is a mural of details ranging from his deepest, darkest secrets, to pure, unsubstantiated rumor, perhaps a man nearly totally unrecognizable to his own family. That's what you really see, isn't it? Things are actually phantoms of what they're supposed to be. Even those trusted, sacred things. You see, Rhythm and Melody are lies, trying to smuggle into your brain a poisonous, false world of trite, cookie-cutter lyrical and musical cliches.