Acoustic Torture Chamber ‎– Transmissions From Hell

Label:Human Cross Records ‎– HCR019
Format:CDr, Limited Edition, Mini-Album
Released: 2014
Tracklist 
1 Cause Of Pain 	                6:10
2 Schizophrenia 	                7:48
3 Tetrarch 	                                7:38
4 Transmissions From Hell   	5:38

Schizophrenia

https://etat.xyz/release/ClearCues
Clear Cues is available via ETAT as free download
Recorded composed and produced by	Robert Schwarz
Mastering	Cam Deas
Illustration	Milica Balubdžić
Layout	Stefan Juster
Liner Notes	Stefan Juster

With Clear Cues, Robert Schwarz presents us with the predicament of an ambiguous image, an exercise in association and dissociation between field recordings of animals and computer synthesis, tempting us to intersect their similarities and look for their differences. Ultimately though, he’s pointing to something third.

In Clear Cues the sounds of the computer are mirroring, morphing into the other. Within nature, imitation and mimicry have a set of properties that can stretch from communication and separation to full metamorphosis. Insects resembling plants or octopuses transforming in seconds into any shape imaginable. Birds resynthesizing the sounds of chainsaws or human speech. Imitation is always an intimate approach toward something external.

Our relationship with nature is built upon anthropomorphism. An illusionary representation that is rejecting nature, machines or even the supernatural of their own agencies. We're hardwired, whenever we see two dots in a row with a line underneath, to perceive a face. But this internal transformation of something external also enables us to establish a relationship, to form an association.

Dissociation can be a practice to unsee the face formed by the two dots in a row and the line underneath. A desirable dysfunction. However, a connection can only be severed if previously established. Both are necessary to arrive at a positive or negative space, and ideally even at “none of the above”. — Stefan Juster

#ET08 | Clear Cues | 02 PJC

Nieuw Ensemble, cond. Ed Spanjaard

"Recently the concept of dream has become the most important metaphor for my creative thought. In a dream there is no time for contemplation: while dreaming, we are completely absorbed by the constantly changing images that balance on the knife-edge between continuity and contrast. This metaphor is also connected to Mezzogiorno, the title of which refers to the moment of the day when the sun has reached its zenith, casting the shortest shadows. I have been drawing parallels between the densest moment of the day – that of “mezzogiorno” – and the compactness of a dream.
The flow of Mezzogiorno is linear, but the linearity is always set ambiguously. It is as if the forward striving linearity was an object, entering various contrasting chambers. In other words, the linearity is affected by the „architectural units“ that stand in its way. Thus, the motion is often suspended in favour of space, creating fields of energy and tension." JP 2005


Mezzogiorno (12 players, 2005)

Ensemble Modern, cond. Clemens Heil

"I have attempted to create music that is, as it were, self-aware, reflecting upon itself. The ‘sounding personality’ is essentially dual in its character – indirectly alluding to Robert Schumann, the composer of introvert music par excellence, its dreamer self (Eusebius) seeks for an optimal distance of a sight that would allow it to observe its own sensations, colors and shades – in other words, its passionate self (Florestan). “What is the logic therein?” reflects Eusebius, when occasionally settling on that quiet and silent land, from which it stoically observes its own constructive as well as deconstructive forces – its surges and its storms... I have associatively linked the condition for such introspective examination with the image of darkroom – a room that can be made completely dark to allow the processing of light sensitive materials." JP 2012

(Commissioned within the project "Myths, Nation, Identities" – an initiative by Goethe-Institut and Ensemble Modern)


Darkroom (Ein Fantasiestück für Ensemble, 2012)

8-BIT CONCERTO for chamber orchestra and 8-bit electronics. Performed by Sinfonietta Rīga, conductor Normunds Šnē.

8-BIT CONCERTO

Egils Upatnieks (oboe), Agnese Egliņa (piano)

Lauskas for oboe and piano (2015)

Latvian Radio Choir, conductor Kaspars Putniņš

Sleep for 8 voices and electronics (2010)

Through the crash barrier

SWR Symphonieorchester 
Peter Rundel (conductor) 
World Premiere, 21 October 2018, Donaueschinger Musiktage 2018

"Introspection and questioning of one’s identity lay in the core of my creative work. It involves searching and contradicting as an essential part of the musical process, where I am aiming for music that 'thinks' about its own existence – it finds a strategy or a set of rules to go on, then perhaps finds them questionable and modulates into an altered set of rules... The fragility of a finding becomes an essential element. Thus I explore the structural resources and relationships of certain scales – both octave and non-octave based. The music unfolds in slow time, which, however, is full of tension, rolling with hitches in a stuttering manner. 
The piece is about the struggle caused by an inner or outer force which restrains one from moving on smoothly. There are different pressures of varying degrees and changing states of resistence. As the title indicates, dead wind (Gegenwind) is chosen as the main metaphor here. Only when the resistance surpases the power of the dead wind, the music overcomes the fear of stuttering – it stutters freely, turning into a distorted tune. The piece has a bipartite structure and the music is goal-oriented. The processes of each part lead to an episode of resistance taking over, thus letting the force of distortion go wild."

J.P.

Dead Wind (for large orchestra, 2017/18)

Big Tree Chi Gong Music

Mix of genres, different music production techniques and emotions in the first single by music producer, composer and singer ANAKI.


Vocals recorded/track mixed and mastered in Gassound Studio (Riga, Latvia) by Andris Indāns

I dreamed a melody

Anna is a Latvian composer working in the areas of chamber music, opera, music for choir, instrumental solo pieces and electroacoustic musi. Fascinated by the most intricate properties of sound, she approaches it as a live organism that embodies a musical form in itself. Her work is often created in close collaboration with musicians, exploring the finest timbral, textural and technical possibilities of each instrument that eventually lead to meticulously designed sonoric architectures. Inspired by the mysteries of nature, she steps with it into a conversation through her music, colliding disciplined rationality and scientific research with feminine intuition and sensitive plasticity.
In 2019 her Tree Opera. Windthrow for eight voices, chamber ensemble and electronic track was premiered in Finland by the Grammy Award winning Latvia Radio Choir, chamber ensemble and Swedish Paetzold contrabass recorder player Anna Petrini. Anna is currently working on a composition for symphonic orchestra and large choir Carmen Sibyllae (Song of the Sibyl), based on Virgil’s 4th Eclogue, anticipated premiere in 2021.

I dreamed a melody

Anna Fišere (Composer)

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