&c

So what do we learn, hearing all those words and breaths and gurgles, unencumbered? The voice is our most primordial and valuable instrument, and we respond to it more fully, in both spiritual and physiological ways, than almost any other organic sound. For millennia, our brains have evolved to perceive minute variations in the volume and cadence of a human voice. Those micro-adjustments can be staggering, and are worth listening for.

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ADR – Throat

The conceptual twist here is that the album is composed of vocal samples, most scrubbed clean of any signifiers of human origin. Remembering this as you listen can be amusing, even creepy, and the overall effect is that of a futuristic gloss, each sourced note subsumed into a larger whole. Ross has built these abstract fragments into all-but-seamless collages that climb, flutter, and drop in accordance with the rules of pop songwriting, but what’s constructed here has no singular voice, no characters, no storytelling—indeed, no language, at least not in the traditional sense, though occasionally a voice will float out in an unintelligible lead. Still, these tracks brim with feeling, or feeling’s synthetic analog.

https://pitchfork.com/reviews/albums/22697-throat/

There is always a gap between affect and representation. But representations have their own affects.

Sound, Music, Affect: Theorizing Sonic Experience

In presenting forms of feeling music is not articulating any particular affective state so much that it is an event by which one may get a sense of how the world could be felt in its qualitative-relational order.

Sound, Music, Affect: Theorizing Sonic Experience