SSIN is centered around a Max/MSP patch of feedback oscillators (originally based on the patch "Italian Network" by Amir Bolzman), a modular system, and an Elektron Machinedrum. The album explores off-kilter rhythms and modes, feedback patching, spectral and dynamic processing, and reverberation to create synthetic acoustic-like, lively timbres, voices, and spaces.

On tracks 1 and 6, I played electric guitar and effect pedals for the melodic/harmonic parts. Track 2 features vocals and granular processing by Daniella Ljungsberg. Track 4 was inspired by Twin Peaks Season 3. Track 5 is named [kolyma.mix] after Varlam Shalamov's Kolyma Tales, in dedication to his memory and the depths of his stories of the gulags. - amit dagim
credits

released April 28, 2022

Produced and mixed by Amit Dagim

Mastered by Rashad Becker at clunk
www.clunk.de

Cover artwork by Yuval Frisch
www.yuvalfrisch.com
www.instagram.com/yuvariver/

Cover design by Karin Kimel & Anis7K

Released by Sadan Records, 2022
sadan-records.bandcamp.com/music
license
all rights reserved

BwO [feat. Itamar Shlomo Cohen]

Weaks Hall [kolyma.mix]

lestHall

Black Lerve

Rags [feat. Daniella Ljungsberg]

JEs33

In Growth of the Soil, I tried to create spaces and environments in which synthesized acoustic-like instruments interact and play together with creature-like voices. The synthetic instruments tend to be deformed, off-kilter versions of saxophones, trumpets, pipe organs, flutes, bassoons, doublebasses, and so on, while the bird- and insect-like creature voices seem to cry, screech, sing and howl.
The different pieces act as types of ‘scenes’ in this fictional, pseudo-acoustic sound world.
The album sums up my work and research of the past three years, experimenting with feedback and nonlinearities in digital and analog modular systems, and exploring how nonlinear dynamical
processes allow possibilities for acoustic likeness in synthesized sound. But most of all I was interested in the music I could create with these sounds and notions while reacting to/interacting with dynamic feedback-based synthesis systems.
With the appearance of colorful, screwed-up versions of possible instruments and organisms, images/fiction are created and perceived. This could hopefully take the music closer to unfolding
like a painting, a novel, or a film. At times the different voices and instruments take a form similar to a band or an ensemble. In other times they sound in more chaotic fashions, frantically interacting with one another, vying for spectral/temporal space. Sometimes it’s a confused incident of excess life, other times it’s a free jam, or a death song. I found a type of “acousmaticness” in this pseudo-acoustic approach to electronic sound, where the supposed origin of the sounds may be abstracted, hidden, or ambiguous, and sounds seem to shift between life-like behaviors and more synthetic characteristics and speculative areas. Overall, I wanted to compose some sense out of a stumbling search, full of eerie border zones and nonsensical deadends.
The album's title is taken from the English translation of Knut Hamsun’s novel by the same name,in Norwegian Markens Grøde. 

released April 18, 2025

Patched and composed by Amit Dagim
Performed and played by Amit Dagim and modular systems
Mixed and mastered by Amit Dagim
Cover artwork: Uri Lifshitz, Submission (1971), etching and aquatint, edition 20/25. Courtesy of
the Uri Lifshitz Building.
Special thanks to Ji-Youn Kang, Tom Mudd, Avraham Kober, the spirit of David Tudor, and the
Institute of Sonology, The Hague, Netherlands.
license
all rights reserved

Amit Dagim

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