On one hand, I could recreate the original Sight/Sound performance, how it started with Adam sitting down at the piano in the darkened dance studio and plunking out a not-quite-soothing but still-not-unpleasant melody, or when Dan fired up the remix about the up and coming “Detroit: City on the Move”, or how the closer was amazing and literally deafening, so much so that those of us in the front row only felt slightly guilty covering our ears.
But we’ll get there eventually.
Then again, it might be more informative to go back and talk about how musical higher education teaches us all to do the same things that everyone’s already done and play the same things and the same way everyone’ s played for hundreds of years, just because that’s what you do and that’s what higher music is, and if you’re trying something new or taking a chance then you’re doing it wrong and then we have the saxophone all over again.
But that would only explain what sight/sound is not.
I could talk about the day when I realized that Adam and Dan were really running with something. They told me about some of their ideas (“It’ll be the computer and two snare drums, plus the kickdrums on every huge hit- WHAM!”), showed me some works in progress (“…and this right here is going to be Mike just going crazy on apocalyptic sax for a full two minutes”), and it hit me that these guys had an honest-to-God vision.
But for now, I think I’m just gonna leave this here. You’ll understand later.