A rhizome has no beginning and no end. When separated into pieces, each piece can give rise to a new organism. The rhizome works with planar and trans-species connections, rather than vertical and linear connections. There is no hierarchy in the rhizome. When a song is a rhizome, it lacks narrative structure, tension and resolution, part-whole relations. Remove one part of the song, and the rest of the song remains viable. Like a fractal, a rhizomatic song exhibits self-similarity, a compact topological space containing a series of homeomorphisms, loops, and textures that bubble and combine at different rates with different durations. We’re not simply talking about ambient music. Rhizomatic music is permeable from every direction, never found at the beginning or end, always in the middle. Although structures may emerge in the rhizomatic song, they do not derive from melodic resolution, but rather signal processing; non-linear filtering, varispeed, state variability, etc. Instead of waiting for the drop, the rhizomatic song habituates us to a new ecology of sound. We float, drift, or swim, finding new connections, seeking equilibrium in pure difference.
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[00:00] Teengirl Fantasy - “End”
[03:04] Maria Minerva - “Alone In Amsterdam”
[05:38] Dolphins Into The Future - “Noite”
[08:35] Konx-Om-Pax - “Silent Reading”
[11:15] Lenticular Clouds - “Pazos”
[14:05] Booze Candy - “Graphics”
[16:18] Ssaliva - “RZA”
[18:44] Friendzone - “Don’t Give Up”
[19:45] CVLTS - “Für Monrovia”
[22:45] Dean Blunt and Inga Copeland - “8”
[24:58] Actress - “N.E.W.”
[27:20] d’Eon - “Transparency Pt. IV”
[30:08] Innercity - “Bodycells Fortress”
[32:55] Diamond Black Hearted Boy - “The Last Temptation”
[35:04] LUST - “Mémoire (Dreams West Remix)”
