I conceptualized this 10-piece-collection of music around 2000 and this was the idea:
I generated some „ethnic sounding“ MIDI Textures with David Pannett’s (then) up-to-date free Algorithmic Music Generator „Improvise„, „instrumented“ these textures using „authentic“ samples of „ethnic“ instruments implemented in a (then common) Desktop Sound Module called SC-88 Pro and finally carefully implemented „authentic“ microtonal scales in the piece, using the Scala archive.
As always in these times, I wanted to generate truly digital musical bastards. Music, that wouldn’t have been possible or even thinkable several years before the internet’s ubiquity. G.F.E.M. is meant to be art music, but not „Neue Musik“ or Avantgarde, nor Jazz, nor Pop (and of course it has nothing to do with improvisation). Perhaps it can’t be called „music“ at all in a conservative sense (Hi Mr. Borstlap!), but, for starters, it also doesn’t sound like the usual „sound art“ at all, but rather like a field recording by some dedicated ethnomusicologist trying to preserve the rapidly vanishing vernacular musics of this planet.
But it’s all fake. Genuinely faked ethnic music. Now deal with it.
(Before the confusion the internet stirred up, it was nearly impossible to find someone that saw any sense in conceptualising music like this. Now, with musical conceptualism being more and more common, perhaps the time of G.F.E.M. has come?)