Love the abstract colour of this and the ligeti influence :)

Mundus invisibilis (The Invisible World) part I for string quartet

Sinfonietta Riga string quartet

Kristiāna Šīrante (first violin)
Agnese Kanniņa-Liepiņa (second violin)
Artūrs Gailis (viola)
Kārlis Klotiņš (cello)

The compositional idea of the string quartet ‘’Mundus invisibilis’’ (The Invisible World) was conceived by observing the various forms of fungal mycelium and translating the spatial image of its branched underground network into time. The nuclei of fungal cells which move freely through the whole mycelium appear in this composition as pulses or pulse structures of various types and lengths. From them, a number of audible macrostructures or bodies of sound are born that one can imagine as fungi themselves. The electronic track consists mainly of percussive impulses of damped strings and their reverberations in the piano body. 
The 18th century botanist Carl Linnaeus called the world of microorganisms invisible to the human eye, including fungi and their spores, ‘’Mundus invisibilis’’. Before him, ‘’Mundus invisibilis’’ described the intangible, evasive realm inhabited by souls and spirits. In my worldview, there is a similarity and connection between the two, which I explore in this piece. It may well be that the world of spirits is interwoven and connected by threads even finer than those of the already elusive mycelium network.

Image: the ink drawing by Ilze Paklone

/Mundus invisibilis/ part I for string quartet 2020

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

система | system presents "From The East" EP by Ukrainian artist super inter.
За рішенням мицткині усі кошти від релізу будуть перераховані Медичний Добровольчий Батальйон Госпітальєри • Hospitallers Paramedics
Мене звати Юлія Власкіна, я виросла на Донбасі, другу половину життя прожила в Києві. Через війну виїхала з України і так склалося, що наразі живу в Берліні. Писала музику для театру, зараз працюю на радіо і роблю передачу про український андеграунд ‘To Hear Is To Feel’. Мені дуже пощастило.

Я випустила перший EP ‘Le Divisionnisme’ під псевдонімом YV у 2019, потім змінила псевдонім на super inter. Не впевнена, що не перейменуюся знову, — це освіжає.

‘From The East’ — це музика, яка склалася сама собою. Чернетка у мене була вже пару років, я кілька разів грала цю музику наживо, але ніяк не могла довести думку до кінця і оформити. Це не зовсім типова для мене музика, і я певним чином соромилася її драматичності та вразливості.
Але події останнього року створили потребу кудись спрямувати і там прожити той біль, який вони принесли. Так я зрозуміла, як дописати цю музику, про що вона.

На обкладинці моє фото Олімпійського стадіону, біля якого я жила останні роки перед війною.
Це дуже особистий реліз, але я відчуваю, що багато хто мене зрозуміє.

*
My name is Yulia Vlaskina. I grew up in Donbas and lived in Kyiv for the second half of my life. Because of the war, I left Ukraine and now live in Berlin. I used to write music for the theatre, and now I work on the radio and make a program about the Ukrainian underground called 'To Hear Is To Feel.' I am very lucky.

By the artist's decision all proceeds will be sent to Медичний Добровольчий Батальйон Госпітальєри • Hospitallers Paramedics

I released my first EP, 'Le Divisionnisme' under the alias YV in 2019, then changed my name to super inter. I'm not sure I won't change it again - it's refreshing.

'From The East' is music that has developed by itself. I've had a draft for a couple of years now, I've played it live a few times, but I couldn't get it right and put it together. It's not quite typical music for me, and I was somewhat ashamed of its dramatic and vulnerable nature.
But the last year's events created a need to direct it somewhere and live the pain they brought. That's how I realized how to finish this music, what it's about.

The cover features a photo of me at the Olympic Stadium, where I lived in the last years before the war.
This is a personal release, but I feel many people will understand me.

Composition, production, mixing, and mastering by super inter [Kyiv-Berlin, 2021-2023]
Cover photo by super inter [Kyiv, 2021].

From The East

super inter - From The East [B]

Outline Podcast

outline.30 OID

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

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.

/Mundus invisibilis/ part I for string quartet 2020

Anna Fišere (Composer)

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