Since the introduction of stereo, mono has taken a backseat. Stereo in its representation of human ears, has been ideologically presented as more real.
That was years ago. Today sound works in three dimensions which require 5 and 1 points of reference for proper representation (though work is already being done to represent three dimensionality using only the stereo field). Mono is a sonic relic.
Yet mono still represents one thing musically with excellence – the solo performance. While a stereo field can be used for a single voice, it creates a hyper realistic relationship with space beyond the voice. Ultimately, the solo performer is a monophonic affair. Until you get to the electronic musician, who is given the stereo field as a playground, for production. But what about for performance?
With “That which is, is not that which is called” I explore instrumental expressiveness in mono. Philosophically aligning the mono sound experience, with the monastic art experience, each of the pieces were created through artistic meditation, the sounds designed, arranged and performed while in the meditative state.