Name: Epiphany (Theophania) - Boat Horns in Piraeus Port, Greece- January 2017 by Alyssa Moxley
Duration: 6 min 14 s
Description: Boat horns in the port of Piraeus on 6 january celebrations.

so funny to have these two incredible recordings !

Great to hear this again. I first heard Felix Blume's recording and it was amazing. I reposted it on my Scplanner Experimental/field recording network. Would love to have you be a part of it. PM me.

https://soundcloud.com/felixblume/ships-horns-concert

The sun shone brightly on the garden, casting its warm embrace on the verdant foliage, where the flowers swayed in a rhythmic dance. The wind whispered gently, as if it were singing an undulating melody, guiding the observer towards a peculiar sense of familiarity, an odd déjà vu, as it delicately cradled the leaves in its intangible arms. Amidst this idyllic scene, one couldn't help but notice the curious coalescence of shadows, converging into a harmoniously illogical pattern, wrapping themselves around the trees' trunks in an uncanny embrace.

The air was permeated by a peculiar fragrance, a scent that seemed at once sweet and daunting, a curious blend of petrichor and ephemeral dissonance. As the observer walked further into the garden, the overgrown path began to twist and contort, beckoning the traveler to venture deeper into an enigmatic labyrinth of verdure. The rustling leaves seemed to chant a cryptic incantation, spiraling into an ever-growing symphony of incohesive harmonics.

A strange sensation enveloped the observer, the boundaries between reality and imagination blurring in a disconcerting amalgamation. The vibrant colors of the blossoms began to bleed into one another, creating a swirling array of chromatic aberrations. The beauty of the garden seemed to transcend the confines of reason, morphing into a living, breathing canvas of distorted wonder.

The observer found themselves entranced by the garden's ethereal nature, each step revealing a myriad of inexplicable details. Suddenly, the ground beneath their feet began to undulate, like a restless ocean of verdant waves, urging them to cast away their preconceived notions and surrender to the enigmatic embrace of the surreal landscape.

As the observer succumbed to the hypnotic pull of the garden, words and phrases took on new, unanticipated meanings, their familiar cadences reshaped into bewildering constructs of sound and syntax. The flowers whispered in cryptic riddles, their petals unfurling to reveal unsettling truths hidden within their intricate folds. The unspoken promise of the garden, once so alluring and inviting, now swirled into an enigmatic whirlpool of uncertainty, its pull irresistible, its depths unfathomable. With each breath, the observer became further entwined in the garden's enigmatic embrace, the line between reality and illusion slipping away, like grains of sand through the fingers of time.

ı @≈∞|0

˝'<»>\\\°’◊•·`

Hibernation

new music 

only available hrough subscription for now

subscription

Krow3.7

CD available directly from Important Records - imprec.com 

Strange Times is a virtuosic realization of contemporary
electroacoustic soundscapes composed and performed by Stephen
Ruppenthal and Gary R. Weisberg. With masterful employment of electroacoustic techniques and tools, including the original 70's Buchla Music Easel Ruppenthal used in the Electric Weasel Ensemble, these two artist create an essential, psychedelic, electro-acoustic experience.

Strange Times is a hallucinatory journey into our epidemic-ridden
times through a collection of startling sonic landscapes. From epic
acoustic journeys into re-imagining myth to the phantasmal soundscape world of the Bardo, Strange Times is not for the innocent or delicate listener. Time turns elastic, and folds in on itself; you are approaching the event horizon of a black hole. The only way to make sense of any of it is to mentally rewind; speed up or slow down the voices in your head in random attempts to find your way through this electroacoustic aether. Strange Times explores the ability of sound to alter consciousness, creating sonic environments, mental and physical states where one can allow the experience of listening to become transformative.

Stephen Ruppenthal (Berkeley, 1949) San Francisco Bay Area new music trumpeter, electroacoustic and text-sound composer, Stephen studied electronic music and composition with composer Allen Strange, and ethnomusicology with Lou Harrison, and holds a Masters of Arts Degree in Contemporary Musicology, writing the first comprehensive treatise in English of Sound Poetry, “History of the Development and Techniques of Sound Poetry in the Twentieth Century in Western Cultures.” Stephen was a founding member, along with Don Buchla and Allen & Pat Strange, of the Electric Weasel Ensemble, and more recently, with Brian Belet and Pat Strange, of SoundProof, and is known internationally for his live electroacoustic performances, and writings on text-sound
composition. Stephen has been composing and performing electroacoustic works for Buchla instruments since 1971. Flamethrower, a 2017 CD of electroacoustic works for trumpet and flugelhorn, by Allen Strange, Brian Belet, Bruno Liberda, and Elainie Lillios, and performed by Stephen is currently available from Ravello Records. 

Gary R. Weisberg, composer-sound designer-digital audio artist was
born 1951 in Brooklyn, NY. At age 2, Gary was exposed by his mother to the music of Brahms, Khatchaturian and Rimsky-Korsakov. He also had a fascination with dinosaurs. He first picked up a musical instrument in 1972, playing free- jazz improvisation on flute and alto sax. Gary moved to San Francisco in 1976 and was involved in a loosely knit collective of jazz and experimental musicians and artists, operating a small performance space called The Blue Dolphin. He studied music, computer programming and electronics at San Francisco State University, graduating with a degree in Electronic Music Composition. He spent two years building a modular analog synthesizer, and began composing electronic music and text-sound compositions for art/ photography gallery openings. From 1986-1994, Gary maintained a MIDI project studio for the production of his own music, as well as sound and music for TV/Film/Video productions. Since 1994, Gary has been composing PC-based experimental electronic music, as well as pieces
for electronic and acoustic instruments, occasionally performing with other composers and collaborating with visual artists. He currently resides in New York's Mid-Hudson Valley.

1. Post - Apocalyptic Biscuit (Ruppenthal)

Track included in the LP "Monoliths and Greetings" released on People Can Listen Label (PCLLP024)
@peoplecanlisten

The image for the cover is a painting by the Polish artist Katarzyna Karpowicz, "Monoliths and Greetings", oil on canvas, 110cm X 110cm, 2017.
katarzynakarpowicz.pl/#

Mastering by Optionica: @optionica

Released date: 16/02/2024
peoplecanlisten.bandcamp.com/album/pcll…-greetings

LP on Bandcamp

Kite Comet

Brijeet

"Morse code is a method used in telecommunication to encode text characters as standardized sequences of two different signal durations."

This track was composed for the Full Orchestra's sample challenge of February 2024.
The whole track revolves around the idea of rhythm play of short and long duration sounds, trying to mimic the two impulsions used in morse code.
To do so I extracted a part of the original sample that sounded like a synth pad and sliced it more and more rythmically as the song progresses to bring what sounded like an ambient sample into the Braindance/IDM musical territory.

Morse Code

Gaussian Blur - Morse Code

Urchin

Original Track :
https://soundcloud.com/onokio/sets/evaporating-in-the-datacenter

ᴏɴᴏᴋɪᴏ -  evap_in_data [redux] (Senglar Version)

Under the name SBATAX, Bertrand Denzler and Antonin Gerbal continue their exploration of flow, speed and patterns by exacerbating the sound of their saxophone-drums duo. The furrow they dig ends up forming spirals that gradually migrate towards regions where movement becomes a texture that floats in the wind. Bertrand Denzler and Antonin Gerbal have been working together since 2011, both as a duo and with bands and projects such as Zoor, Denzler-Gerbal-Dörner, Onceim, Horns+, CCP3 or Protocluster, whose albums have been released by labels such as Umlaut Records, Confront Recordings and Remote Resonator.

---

Music by Bertrand Denzler (Suisa) and Antonin Gerbal (Gema-Sacem)
Recorded at Curved Pitch, Saint-Ouen, France, June24th 2022
Engineered by Sbatax
Mastered by Jean-Pierre Bouquet, L'Autre Studio
Photo by Benjamin Denzler
Design by Erica Saïdah

UMFR-CD43  Spires – Sbatax "Spires"

Boat horns in the port of Piraeus on 6 january celebrations.

Epiphany (Theophania) - Boat Horns in Piraeus Port, Greece- January 2017

Sound Artist & Designer, Composer, Field Recordist, Producer

www.alyssa-moxley.com
previous soundcloud @dromomaniac
Recordings from Unbound Atlas: @kinisifestival

Cover photos by @stephanecharpentier

Epiphany (Theophania) - Boat Horns in Piraeus Port, Greece- January 2017

Alyssa Moxley

Recent comments

jorgen.karlsson

Bivouac Recording

t r a n s i e n c e

Julia Hanadi aLabed

Related tracks