Bacon for the Ears

What bacon is for food, stretching is for electronic music.  It can make anything sound better. Here's a prime example, made with Paul's Extreme Sound Stretch.  

Slowing things down, widening the perceptual frame, was one of the initial impulses in the minimal side of the radical music.  La Monte Young's goal was to be able to "get inside the sound", to bring out all of the detail and complexity of acoustic events which on first impression may appear to  be simple, minimal.  (The ability to slow down music without altering pitch was also one of Steve Reich's initial concerns; not satisfied with the technical possibilities in the analog electronic studio of his day, this kind of process was eventually realized by real live players in Reich's Four Organs.) 

Now that stretching has become so ubiquitous, has it already achieved the status of a cliché?  In film music, I suspect that this is already the case. Fortunately, in experimental music, there are no clichés, just resources worth reconsidering.

(Excuse the sparse posting here.  My recovery is taking longer than I expected.)


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