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for strange noises and effects to appear on their televisions and radios. After the unfortunate disbanding of the workshop in 1998, a new gate was left open for a new generation of enthusiasts of electronic music to come forward.

Many new electronic music genres and sub genres have emerged over the last 20 years. With regards to the given track, L.A.S.I.K by Matmos, the appeal for the use of new sounds has become apparent. Even in the 21st Century, composers are still looking new sounds and new ways to use them. Released in 2001 by the electronic duo made up of Martin Schmidt and Drew Daniel, L.A.S.I.K is a contemporary piece following on from what the Futurist and Music Concrete composers taught. Using similar techniques to the Avant-Garde composers in terms of tonality, Matmos has created a wall of sound with different noises and frequencies that build up a huge texture. Following from the forefathers of Futurism, their instruments for composition are the sounds from a laser eye surgery procedure, a highly electronic sound which provided some of the disturbing hisses and squeaks.

For example, I went to record a laser eye surgery and the surgeon said 'OK, but you can't be in the room, so I'm gonna tape your microphone over here and record the room sound.' Obviously I couldn't push him around. So what I got was this amazing recording of horrible electrical interference because they'd taped my microphone to a high-powered laser. You kind of have to work with what you get (Sound on Sound: 2004)

After that surgery, they were able to record a second attempt, but they still used the original sounds. It shows that the machines and their behavior that many musicians have used in their compositions can be temperamental. Thankfully with the new technology of computer editing, recording, manipulating and generating the sounds for this kind of composition has been made easier.

L.A.S.I.K has shown that new and innovative ways of composing are still appearing. Musicians and composers are always going to follow in the footsteps of the Futurists, Neo-classicalists, Music Concrete and Avant-Garde composers in looking for new ways to make music. It is an effective piece of modern electronic music using ideas from the Futurist age of machines right through to 21ST Century electronic music techniques. As long as there are new sounds appearing in the world, composers will always strive to find new ways of generating sounds. It has still proven to be an endless palette for composers of any type trying to find ways to do something different.

Bibliography

AUSITN, W W. 1966 Music in the Twentieth Century. Dent

DOYLE, T 2004. The Art Of Cut & Paste' Sound on Sound.

GRIFFITHS, P 1986 Modern Music, Thames and Hudson

OSBORNE, B. http://www.futurism.org.uk/man ifestos/manifesto05.htm
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OSBORNE, B. http://www.futurism.org.uk/man ifestos/manifesto18.htm
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OSBORNE, B. http://www.futurism.org.uk/mus ic.htm
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OSBORNE, B. http://www.futurism.org.uk/pra tella/pratella.htm
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OSBORNE, B. http://www.futurism.org.uk/rus solo/rus_frames.htm
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TIDSTALL, C & BOZZOLLA, A. 1978 Futurism. Oxford University Press

VARIOUS. http://www.obsolete.com/120_ye ars/machines/futurist/art_of_n oise.html
5 December 2005

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