Uploaded April 2024 | Updated September 2026, 2 weeks ago
UK, 1979
Riskydisc – FUNC 1
discogs.com/release/2510238-PGRS-Photographs-Of-Sound
From the artists:
In the creation of this album we were looking for new areas, and one of the ideas we had was to produce an album with two different listening contexts. We call this music 'FUNCTIONAL BACKGROUND MUSIC'.
We define and suggest this as music which can be used by film and television companies, stage producers, etc. as a series of aural backdrops.
Also, since our work has emotional commitment and none of the artistic compromise found in conventional background music, we feel that P.O.S. can be listened as a whole statement: an album.
We prepared ourselves for the recording studio by assembling fourteen frameworks, in order to guide us in improvisation but allow us enough freedom to explore fresh areas.
These frameworks took various forms. Some where chord sequences previously derived from improvisation, others were pictorial such as “Rockpool”. The framework for “Go” was the illustration of both the strain and sense of achievement of a cross-country runner, whilst in “Gymnastics” our starting point was to produce music which changed very slowly.
This album is a record of a two-day event including mistakes and quirky bits. Please file under art and science.
UK, 1979
Riskydisc – FUNC 1
discogs.com/release/2510238-PGRS-Photographs-Of-Sound
From the artists:
In the creation of this album we were looking for new areas, and one of the ideas we had was to produce an album with two different listening contexts. We call this music 'FUNCTIONAL BACKGROUND MUSIC'.
We define and suggest this as music which can be used by film and television companies, stage producers, etc. as a series of aural backdrops.
Also, since our work has emotional commitment and none of the artistic compromise found in conventional background music, we feel that P.O.S. can be listened as a whole statement: an album.
We prepared ourselves for the recording studio by assembling fourteen frameworks, in order to guide us in improvisation but allow us enough freedom to explore fresh areas.
These frameworks took various forms. Some where chord sequences previously derived from improvisation, others were pictorial such as “Rockpool”. The framework for “Go” was the illustration of both the strain and sense of achievement of a cross-country runner, whilst in “Gymnastics” our starting point was to produce music which changed very slowly.
This album is a record of a two-day event including mistakes and quirky bits. Please file under art and science.
