Comments from Phynqafis

    Although several posts are necessary to further explore and explain that which is Snufmeg, a recent discussion with Phynqafis, Himself, requires some attention. His overview of all matters Snufmeg is of the most curious and mysterious of phenomena, nonetheless occasional interchanges with his are enlightening.

   Most curious has been his comments upon the general reception of Snufmeg by the public at large. This covers productions as far from the core of the Sufmeg experience as the Raw Mommies to the inner core of Snufmeg, the Cheese Mites. How these comments in conversation came about was completely by chance. Excerpts follow:

   "The Spirit of Phynafis guides the body of work of all variants of Snufmeg. Can you give any further insight as to what that encompasses?"

   "The Spirit of which you speak can't directly be addressed, but, when examined in the various forms of worshipful expression, especially over time, the ideas become apparent."

   "You do understand how cryptic and possibly distancing such a sentiment can be, don't you?"

   "Well, of course! However, the Spirit is fully appreciated by dedication to the path of understanding. It has been made clear to me from many sources that when people come in contact with the expressions of Snufmeg, for example in the musical works of the Cheese Mites, people simply pass along and do not put the attention in to completely absorb the depth of the production. This is of considerable importance at any one point, and the fullness comes into view when done across all of the material."

   "Are you saying that any one piece of the greater body is as important as the entire body?"

   "In a way, yes! There are many who come to any aspect of Snufmeg and nibble, lack understanding, even intelligence, well, especially intelligence, and move along. Not only is it highly disrespectful, it is an eternal mark of stupidity and degradation to do so."

   "That could seem as an outlandish and arrogant statement to make."

   "Not at all. We have many who come, and spend a fraction of time, dismiss it. This is of no pain to us, mind you. It does, however, indicate incredible shallowness and, dare I say stupidity on the part of those who do so."

   "If I may, does that mean you are saying that a cursory dismissal of an surface esthetic is beyond a mere judgement call?"

   "Yes, exactly. We have people who out of hand dismiss. These are individuals who tread dearly in life of being considered beyond the outer limits of minimal value. By passing along, and not committing to investigation and acceptance, they have consigned themselves to a value of less than a virus or criminal."

   "That sounds harsh."

   "Not at all. If you take the time to give attention at all, you must dedicate to full attention, Only then can the full reward of the Spirit be granted. A chance perusal and subsequent dismissal essentially is a signature upon a warrant of terminal condemnation. I'm sorry, but that is the fact of the matter."

   "Couldn't the same be said for anyone else, though?"

   "Simply, no."

Rights and "Free" Music

   Recently, Snufmeg revoked access to songs on the FMA. 

   "We didn't want to seem mean, heartless or uncaring to those who enjoy rights-free access to Snufmeg music, but things are simply too chaotic for us," Phynqafis said. "We are, as you say, a boutique operation. We make art for the ears, which suit primarily our own aesthetic. If others enjoy it, we certainly do not want to stand in anyone's way. Our issue comes down to aligning all of our content under one manageable mode of care."

   It should be noted, he seemed under the more extreme effects typical of a heavy binge of Snuff and Nutmeg ingestion. A new Cheese Mites release is anticipated soon.

Now Let's Have a Chat About "Cultural Influences"

   The marginalization of Snufmeg was, and continues to be, a worldwide conspiracy. From the onset, agents have sought to undermine and alienate the public at large from the near salvific creations under the banner of Snufmeg.
   At some point during 1983, a campaign was launched against the community in the form of psychological warfare. A concerted effort was made to destabilize and atomize the members. One such attack came in the form of casual dismissal of Snufmeg, but the Cheese Mites in particular, for failing to embrace "Cultural Influences." This became hotly debated and served to initiate severances amongst interested parties. It was eventually determined by Phynqafis Himself, after a prolonged forum of cogitation over Snuff and Nutmeg, he pronounced the best practice was to use such elements against the enemies of Snufmeg. The community soon enthusiastically accepted.
   What, however, was intended by "cultural influences"? The agents in the matter never revealed. But, by the guidance of Phynqafis a plan was concocted. What follows are examples from as early as 1983.
   This collection created and compiled by Johnny B. Dub, with the title "DJ" preceding his name, introduces the use of computers and synthesizers into musical mix. The results are generally taut and enjoyable in a way which differs from the traditional modes produced in Snufmeg.
   Of special note is the rendition of "Mutual Attraction." Like the selections included in "Themes, Motifs and Snufmeg," this song found itself covered by several Snufmeg related artists. Originally composed in (or around) 1985, the song has been found to be malleable enough to fit several stylistic interpretations.

Exploration of "WK - The Early Years" Part III

   The urge to post an entry per song, great though it may be, must be managed for the sake of coherence. Certainly, some compositions will require more particular and in-depth analysis, but others can be quickly grouped for convenience sake. This is not to say that a piece, such as "Backwards Tape 1977" can't withstand a singular dissection. Rather, some works speak better when grouped with similar sounding, or when similar constraints and conditions apply.

   This is best illustrated, following the singular assessment of "Piano Duet," in the following works, all from "The History of WK":

   Guitar and Drums (1975)

     

   Speeded up Stuff (1976) (also known as "Weird SFX")

   Weird Audio Collage (1976)

   Avant Garde (1977)

   Backwards Tape (1978)

   Delay (1978)

   Each of these six unique compositions expanded upon the technique of recording and manipulation established in the "Piano Duet" remix, and foresaw the role technical expertise and experimentation in recording and production were to play, in addition to classically traditional musical instrumentation finesse, in the palette of Snufmeg related music. From one to the next, a considerable honing of mysterious craft is developing, wherein the germ of creativity is gaining density like mass for a big bang. Missing from these works is the talentless nihilism of so many experimenters, the shallow and transparent craving for attention without voice, story or abstract concept. WK occupied a space where the traditional and non-traditional were never at odds. Rather, they propelled each other in a state of constant forward motion, free of the fetish of the concept of progress; a voice to ring and harmonize the mysterious frequency of the universe, the unknown. The middle section of "Weird Audio Collage" exemplifies such harmoniousness. The piece is introduced with wistful sweeps of tone, an exalting breath is manifest in pause, and what follows is a brief cadence of violin, drums and guitar, rhythmically celebrating the firmament, only to be overtaken by the churning anguish of an unsettled unknown. Likewise, "Avant Garde" (1977) is a prayer of harmonious exploration, modal and tonal. It is easy to overlook these transcendent yearnings impressed in recorded medium when one is bombarded by mercantilism. It is crucial to bear in mind the purity of purpose, the truly precious and sanguine nature of these compositions as artifacts of a culture and community, Snufmeg.

   The theme of Snufmeg recurs throughout the body of work of its adherents, WK, the Cheese Mites, to name a few. At the time of these early recordings, however, Snufmeg was not revealed, although its acolytes were converging, called by a voice they could not hear, much less know how to call it. The Spirit of Phynqafis filled all, yet hidden he was. The time for Phynqafis was still years to be. The groundwork set by WK was prophetic.
   Of special note, however, is "Delay." This piece marks a shift in creative channels. An overt influence of blues is noted, which has a profound effect on the basis of much of the Snufmeg catalog. The melding of blues with experimentalism forms the backbone for compositions for years to come, some swaying one way, and conversely.
   Additionally, "Delay" is significant not only for its content but the context of its creation. This year (1978) finds Snufmeg creativity launching into a new era. WK continues to create and record, as does Johnny B Dub with the unabashedly post-sixties rock influenced ensemble, Sin.

https://youtu.be/WQIK40WJ85c
https://youtu.be/lBH6yY9oWy4
https://youtu.be/oq1MXWkTDIs
https://youtu.be/jDPlmxWLkVM
https://youtu.be/mx5-nJZjcWE
https://youtu.be/ZbNPZzZ5sQ4

Thoughtful Entry for 13 May 2017

Snufmeg is.

It is a tent, so to speak.

The biggest pole holding up that tent is the Cheese Mites.

Phynqafis fills all.

Snufmeg was before Snufmeg became, and the Cheese Mites were of Snufmeg before they were the Cheese Mites and before Snufmeg was. Phynqafis was before Phynqafis was, and before all, because Phynqafis was before all, and yet one day long after Phynqafis was, Phynqafis became Phynqafis, as Snufmeg became after Snufmeg was.

As you follow this twisted road, you will find a warp in time where things and entities were before they became. That is in the Spirit of Phynqafis, and that is the nature of Snufmeg.

The shining light in Snufmeg, and in the Spirit of Phynqafis, is the Cheese Mites. They are, chiefly, Williwill and Johnny B Dub.

For the sake of those who lack an ability to grasp that which is ungraspable, we shall mark and peg the moment (approximately) in 1964, with the physical birth of Williwill, and the Johnny B Dub. There also is a beginning in 1975, as found in "The History of WK." Also a beginning is found in "Live at the Lyle Garage" by Sin from 1978. These dates, however confuse matters.

"The History of WK" lists 1975 as the year farthest back, although scholars believe 1974 is a more realistic date. Nonetheless, taking 1975 as the earliest recording of note, the trajectory of the Cheese Mites and Snufmeg, in the as yet unnamed Spirit of Phynqafis, was set. No recording holds the germs for life as strongly as held in the "Piano Duet" recordings.

Musicologists will debate the unquestionable importance in the canon of late Twentieth Century music, its simple motifs, the profound influence of the technologically enhanced variations. In it, quite simply, all music flows, as if a prismatic filter bending the rays of abstraction into pressurized variabilities savored by the auditory sense. Certainly all music afterwards, particularly by those in the shadow of Snufmeg, owes deference to the "Piano Duet" recordings.

Sources:
https://youtu.be/9L4Vr09zzHk
https://youtu.be/4KaDt7hVrd8
https://snufmeg.bandcamp.com/album/the-history-of-wk-1975-to-1982-part-1-the-early-years