Stefan Strasser × Aoki Satoru - Jorgen
SOMA Enner: Stefan Strasser - Cologne, Germany
Prepared bass: Aoki Satoru - Tokyo, Japan

Streaming: https://tr.ee/Z-ixyOUu1u

Stefan Strasser https://soundcloud.com/stefan_strasser
https://stefanstrasser.bandcamp.com
https://www.instagram.com/strasser.s

Aoki satoru
https://linktr.ee/tototod

♪ Streaming Link

Stefan Strasser × Aoki Satoru - Jorgen

Music by https://soundcloud.com/marcolucchi 
Sonopoem and mixing by Ilaria Boffa
This piece is included in the work 'Intrusion' by the EAPS Collective.

+1
'I might embody the igneous bodies, carbon and non-carbon-based, forced through existing formations.
Settle like the dregs of the liquid left in thousands of bottles plasticizing the oceans.
I might recycle into non-recyclable thermal paper and coat with dyes and sensitizers and stabilizers and vaporise with heat. I’d roll.
Rolling and rolling, squeezing, a can, at each kick a bounce forward, future-ing. 
I can sense myself hovering, the +1 part per millions of CO2 trying not to take it personally and resent when you decarbonize and diminish me.
I can feel myself being tape, sticking things together, taping wires and mouths, un-taping, warping and buckling up.
I might emerge from a liquid solution, a precipitate, an insoluble solid suspension ejected and fallen at the bottom of a vial.
I might flat on the soil and bituminize to carry all steps on me and all of a sudden, tragically crack and let us plummet, crash.

Potrei assumere sostanza di corpi ignei, a base di carbonio o meno, spinti a forza attraverso
formazioni esistenti.
Depositarmi come fondi di liquidi rimasti in migliaia di bottiglie che plastificano l’oceano.
Potrei riciclarmi in carta termica non riciclabile e cospargermi di tinture e sensibilizzatori e stabilizzatori e poi evaporare per calore. Rotolerei.
Rotolare e rotolare, schiacciarmi, una lattina, a ogni calcio un balzo in avanti, futurizzare. 
Posso percepirmi fluttuare, la parte per milione di CO2 aggiuntiva, cercare di non prenderla sul personale e risentirmi quando decarbonizzate e mi diminuite.
Posso sentirmi essere scotch, scotchare le cose insieme, adesivare cavi e bocche, staccarmi, deformarmi e accartocciarmi.
Potrei emergere da una soluzione liquida, un precipitato, un solido insolubile, sospensione espulsa e caduta sul fondo di una fiala.
Potrei appiattirmi al suolo e bitumare per caricarmi di ogni passo e d’improvviso, creparmi tragicamente e lasciarci precipitare, schiantare.'

+1  (Ilaria Boffa & Marco Lucchi)

This track was created for the Naviar Haiku group.
576
https://www.naviarrecords.com/naviarhaiku576-amongst-the-rushes/

2025-01-15

Amongst The Rushes, (Naviarhaiku 576 )

another contribution to the haiku challenge of naviar - inspiration hits hard theese times :)

Amongst the rushes,
a stillness comes over us -
Heron in winter.

            - roekin - 

heron on the rocks (naviarhaiku576)

An exploration of not bells ... be careful, though ... the SoundCloud algorithm doesn't consider this music, and I didn't really want to "modify your track to make it eligible" for recommendation to potentially interested listeners! 😂

More on the 682nd weekly Disquiet Junto project, Unring a Bell — The Assignment: What if you could? — at https://disquiet.com/0682/

more halF unusuaL

halF unrunG [disquiet0682]

An electronic composition, sounds created using Pure Data and Audacity.



Thought Takes Flight (naviarhaiku577)

This week's #disquietjunto prompt was to create some music "in which you try to unring a bell."

In practice, I recorded the sound of a gong from our school’s band room (it’s like a bell but BIGGER). Then I tried to create the little snippets of sound that would fly around as the bell rang and which our hard-working theoretical performer would eventually have to reassemble.

Disassembling the bell’s tone into fragments was fun and challenging. I loaded the bell into Anemond’s Factoid to break it up into pieces based on frequency ranges, which got me lots of little snippets (including the drone tones you hear now and then). I also loaded it into Synplant, which generated tons of weird synthetic bells that led me down various rabbit holes of sound design and thoroughly distracted me from this project. I also put the bell sample into Ableton’s Simpler, sliced it into snippets based on transients, and then used the Arpeggiator plug-in to play the snippets randomly.

Isolating and organizing all these fragments and new samples into a track was pretty challenging! Eventually, I outlined the structure of the track, which helped me find my way.

1) Bell tone
2) Bits and pieces dance around the stereo field and an attempt is made to reassemble them
3) The bell is rung again, but this time it sounds slightly different
4) Part of the tone breaks off into a drone while a few snippets flit around
Once again, the bell is reassembled, with a big reverse sound leading into…
5) A big, new bell sound (created by layering pitch-shifted iterations of the original sample)

More on the 682nd weekly Disquiet Junto project, Unring a Bell — The Assignment: What if you could? — at https://disquiet.com/0682/

You Wouldn't Unring A Bell (disquiet0682)

I really had fun with the sound design on this one! Hopefully you will hear the fog dissolving into rain and the wind of the cool breeze clearing the vista so you can feel the sweeping bass/base of the cloud topped hills. :-)

I used the Dreadbox Erebus v3 for all the sounds and used its patchbay for every sound too. It was fun to explore. 

The wind was the easiest to make and I patched in the noise directly into the filter input where I did a manual filter sweep.

I am most proud of the rain sound. I took the noise out into the switch and then drove the switch with the clock and I adjusted the clock's rate and duty cycle to adjust the density of the rain. The output of the switch drove the gate and then I dialed in some filter resonance to give the raindrops some tonal information. 

The main musical notes took the output of the LFO into the VCA and I drove the VCA with the slow attack and slow decay of the filter's envelope. The output of the VCA went to the filter cutoff. This allows the LFO to gradually come in as the note sustains and adds some movement. I also used a lot of feedback on the delay to create extra resonance in the sound.

The Fog (naviar-haiku586)

The rhythm track is created from the sounds of a lighter, striking a match and a crackling fire ...

More on the 692nd weekly Disquiet Junto project, Combust a Move — The Assignment: Make music using fire for the rhythm track — at https://disquiet.com/0692/

halF alighT [disquiet0692]

2025-04-26

hummingbird

2025-05-04

like in a dream

Brief eclectic electronic experimental excursions. All songs are available as a free download. Thanks for listening :-)

The Fog (naviar-haiku586)

Addisonic