Is JLIAT happy? The question is worth asking, since in his press release for Of Musicology: First Deconstructions he himself refers to the myth of Sysyphus and Albert Camus' interpretation of it. Like Sysyphus, JLIAT performed a meaningless task to create this album. First came the LP Of Musicology, on which JLIAT covered two prog rock epics, Pink Floyd's "Atom Heart Mother" and Emerson, Lake & Palmer's "Tarkus" -- straightforward cover versions on keyboard, conceptualizing a reflection on one's musical influences. For the next step in the series, JLIAT devised a way to randomly deconstruct each of his versions while keeping things constricted to a determined system (it recalls John Cage's obsession with the I Ching whenever in need of a random process). He devised a computer program to access random bytes in the music files, extract one bit from each selected byte, and recombine them into new bytes. All the material used comes from the pieces (on a sub-molecular level, so to speak), yet the reassembled creatures sound like generic white noise, an impenetrable wall of white noise. To push the concept further, the two "pieces," now digital in nature, are released on LP, in clear vinyl to illustrate their antithetic relation to the first Of Musicology LP. Like all of JLIAT's work, you have to approach this album as something more than just music, otherwise you will be sorely disappointed. This artist's thought process is constantly challenging. This time the work brings forth, among other threads, ideas of difference and similarity -- the way this subatomic recombination generates generic-sounding noise sends you back to the humanitarian notion that, deep inside, all human beings (and now you know, all music) are equal and the same. Since JLIAT's computer actually processed most of the meaningless work, you must conclude that, following Camus' word, one must imagine JLIAT's computer happy.
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AllMusic Review by François Couture