Subtle and effective, intriguing sounds bumping into each other...

beautiful detail, I am enjoying the way that the structures have their own lives in the music.jo

Alcohol-Free

halbnarr-Mix

Formula of Love: O+T=<3

LAST WALTZ

BETWEEN 1&2

Talk that Talk

“SILO” is a work composed for feedback-augmented bass drums and electronics, and was written for the Line Upon Line percussion trio.

Sonically, this work explores the complex acoustics of feedback systems, vibration and the transduction of sound through physical objects, and performer agency and control of chaotic systems.  Compositionally, this visceral and demanding piece presents a constantly fragmenting web of materials which blur and shift in and out of focus; exploring a world in which the microscopic and the monolithic are harshly juxtaposed, and in which dizzying chaos and stasis exist nearly simultaneously.    

Performance of “SILO” is facilitated through the use of a video score constructed out of materials shot and edited together in isolation.  The performers respond to the same video score in real-time using intersecting sets of rules and strict timing cues, yielding a performance practice similar to that of a foley artist.  The subtle differences in interpretation reveal a sonic spectrum that shifts wildly between coherence and disjunction.  From one perspective, the performers are simultaneously “siloed” apart from one another.  However, from another perspective, they are all bound to the same score and exist as one unified vertical sonic structure.

SILO (2023) // Performed by Line Upon Line

Efflux was composed through the sound exploration of the selected samples, favoring contrasting approaches. Some sounds were extremely processed, until they became unrecognizable, others were filtered and isolated from their environmental context, however, maintaining some of their spectromorphological profile, and, finally, sounds from concordant and discordant sound families were added. Efflux presents a varied sonic flow of frequencies, amplitude dynamics, between quasi-silence and dense volume, discrete and continuous sounds. 

[Efflux (2021) is the result of a commission from Lisboa Soa Festival for the creation of a new work based on the sound archives of the first five editions of the festival (2016-20). Efflux was recently distinguished by Sound / Image Festival Electroacoustic Music Festival 2022 (University of Greenwich, London). The CD had its pre-release at Quartel Largo Cabeço de Bola, in Lisboa, as part of the installations program of the 2023 festival's edition. The installation “Sounds Within Sounds” continuously played the four pieces that compose the album. The album / CD will be released on 26.09.2023 by Crónica Electrónica label, + info @ https://cronica.bandcamp.com/album/lisboa-soa-sounds-within-sounds]

EFFLUX (excerpt) "Lisboa Soa - Sounds Within Sounds" CD / ALBUM _  2023 (ce 207) Crónica Electrónica

Anastasis Grivas
prepared custom bowing guitar, contact mics, objects manipulation

João Castro Pinto
laptop, live electronics, real-time sampling, Max-MSP

Track List:
1. HYPO-STASIS A – INTRO : 07’25 »
2. HYPO-STASIS B : 03’00 »
3. HYPO-STASIS C : 09’15 »
4. HYPO-STASIS D : 07’32 »
5. HYPO-STASIS E : 07’37 »
6. HYPO-STASIS F : 08’27 »
7. HYPO-STASIS G – CODA : 08’09 »
Total time: 00:50:45 min

All music recorded live at Small Music Theatre on May 3rd and 5th 2003, in Athens, Greece. Editing and mastering by © Anastasis Grivas & João Castro Pinto, in 2004 and 2023. Design / visual work by João Castro Pinto.

10 pages | monochrome | 14 cm x 15 cm | 12 € (+ postal costs)
50 copies hand-numbered limited edition CDR

To buy this album go to https://grimaceseditions.org/hypo-stasis/ or send me an email at agnosiia@gmail.com

------

HYPO-STASIS is the musical result of the collaboration, initiated back in 2003, between Anastasis Grivas (prepared custom guitar), a Greek improviser and curator and the Portuguese composer / performer João Castro Pinto (laptop). In May 2003, on the occasion of Castro Pinto’s three months intermedia artistic residency at Fournos Centre for Digital Culture, in Athens, both musicians met for two improvised recording sessions at Small Music Theater, at the time Greece’s most important venue dedicated to experimental and improvised music, curated by Anastasis (Ektopia). With closed doors and no audience, Anastasis and João played on SMT’s stage and improvised direct takes (stereo files), which were registered via an audio CD recorder. The outcome of the recorded music is condensed on this album in 7 pieces. Both artists were very satisfied with this live collaboration and immediately had the intention to release it. Due to several contingencies, the recordings stood on hold for two decades, when finally both musicians managed to do a selection and simple editing / mastering of the pieces, in order to release them to the world, for they still carry pertinent musical actuality. This release marks the 20th anniversary of the recordings & of the debut of this collaborative duo.
HYPO-STASIS presents several musical approaches, from the initial quiet & dark minimal dronescapes, where the continuous hypnotic sounds of the prepared guitar turn into dense atmospheres, due to João’s live electroacoustic subtle processing; to the more hectic final tracks, where Anastasis’s custom made prepared guitar gains foreground protagonism, presenting, alongside the deep thick drones, discrete sounds and whimsical musical gestures, in an overall improv methodology that turns this album into a diverse musical voyage, composed by an intriguing sonic palette.
HYPO-STASIS relates musically to the idea of Greek’s philosophical term hypostasis, the essential substrate upon which all reality is constructed, the foundation of phenomenic appearances. It also concerns the approach of the early Christian vision patent on the idea Hypostatic union, it is therefore a title that describes the idea of unity in diversity, movement in staticity and an overall consequent intrinsic musical flow.

3 HYPO-STASIS C EXCERPT

Work in progress.. ! Music by Rodrigo Passannanti  👾👽

Ash Mechanick

A soundscape composition from Vigevano (IT). 03/2022

The composition exclusively utilizes sounds captured in the vibrant streets of Vigevano. The intent was to blend delicately reprocessed sound elements with pure noise, filtered directly from the same recordings through advanced noise suppression techniques.

(de)noising

TWICE - YES or YES

Scrapes and Sighs (2019) - Alexis Weaver

Premiered at the ANTIMATTER album launch, 2nd December 2019, 107 Redfern.

Track mixed for stereo diffusion. Headphone mix coming soon.

Scrapes and Sighs (2019)

Follow me on Bandcamp! https://alexismarieweaver.bandcamp.com/follow_me

Alexis Weaver is an electroacoustic composer based in Sydney, Australia, who is trying to make some less serious stuff these days. 

She fuses her classical music education with the ever-expanding area of music technology to create adventurous, whimsical acousmatic and radiophonic works. She has composed soundtracks for animation, film, short stories, radio, theatre and dance.

I live and create on Gadigal and Wangal Land.

Photo @kopi_su_studios

Scrapes and Sighs (2019)

Alexis Marie Weaver

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