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Stacid

A few months back I was studying different arpeggiation styles with my friend MACE, and we listened obsessively to Hania Rani’s incredible piece Buka; from there I decided to dive deep into this particularly amazing phrase she has in that piece, and to explore all the ways I could transform it by playing it with synths and resequencing it by using a gridless arpeggiator I made in Max for Live, which you can download at this link:
https://www.dropbox.com/s/3freuy9c56kuflv/Asynchronous%20Arpeggiator.amxd?dl=0

Mp3 download above, lossless wav download at https://www.dropbox.com/s/id0bgnm6oxyromr/Gadi%20Sassoon%20-%20Solido%20Platonico%20%28Hania%20Rani%20Buka%20Arpeggio%20Study%29.wav?dl=0

Big thanks to Hania and !K7 for allowing me to post this little study.

Solido Platonico (Hania Rani "Buka" Arpeggio Study)

Included on the album 'Medicine Sings Triptych'. 
Read more: http://tobiaslilja.com/medicine-sings-triptych-album

Also included on the 'Medicine Sings' EP.
Read more: http://tobiaslilja.com/medicine-sings-triptych

Buy from Bandcamp

Frozen Lake (Hecq Remix)

Cassettes on Bandcamp: https://tomleclerc.bandcamp.com/album/parc-naturel-pour-synth-tiseurs

Streaming Links: https://lnk.dmsmusic.co/tomleclerc_parcnaturelpoursynthtiseurs

'Parc Naturel pour Synthétiseurs' was composed and recorded using self-sustained energy with my modular synthesizers in Auvergne, France, as part of a residency called "Le Récit du Silence" (The Tale of Silence), centered around autonomous in situ performances. During this time of creation, I used batteries and solar panels to power the entire small studio that I had installed to be able to play in open nature.

This project is the most ambitious endeavor I have undertaken so far. It aims to take the audience on an auditory journey through diverse microcosms, resembling a real natural park. For this project, I used my modular synthesizer that I was able to take everywhere.

Composing with nature is not such an easy thing, as you have to learn to let go. In times of capitalist anxiety, the mere search for calm becomes difficult. And when we finally find it, we already think about finding it again.

In these places, the natural and ephemeral orchestra is alive. It can invite us to compose with it.

I seek to bear witness to these moments to offer the world these new imaginations. And there are these moments, at the bend of a mountain contour where the music comes to life and offers us a "natural park of sounds". - TL

Recorded in Auvergne, France
Written, performed and produced by Tom Leclerc
Pictures by Joséphine Leroux
Visuals and art by Nathankylosaure

Tom Leclerc - Earth Breathe

August 26th - September 14th, 2024 (Hawk Tuah Ambient Remix)

Homesick

This track is basically a mix of "Under Stars", "Under Stars II" and "Stars" by Brian Eno from the album "Apollo: Atmospheres and Soundtrack".  Just a fan mix.

Photo by: NASE

Brian Eno - Under Stars III

Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier.

The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts.

Pressed in an edition of 500 with beautiful cover drawings by artist James Elaine. 100 copies are on color vinyl for mailorder customers.

William Basinski + Richard Chartier - Divertissement - LP edit Aug 2015

from 'Sanctuary' [CD|LP|DIGITAL]
Denovali Records · den284
available on all formats from [http://denovali.com/mariodiazdeleon]

Performed by the brilliant TAK Ensemble, “Sanctuary” is a ritualistic masterwork of modern classical music, combining acoustic and electronic elements with visionary intensity.

For the third full length document of his classical works, Mario Diaz de Leon presents his most unified offering to date, distilling the modernistic hellfire of his previous releases to a crystalline essence. “Sanctuary” is an album length piece created in collaboration with TAK Ensemble, a brilliant NYC based quintet devoted to energetic and virtuosic performances of contemporary music. Featuring soprano voice, flute, violin, bass clarinet, marimba, and the composer’s own synthesizer work, the album is a hypnotic and ritualistic journey through realms of angelic and demonic experience.

Since 2002, Mario Diaz de Leon has created a significant body of new works for acoustic instruments and electronics. Following his teenage years playing hardcore punk, metal, and electronic music, Diaz de Leon was inspired by the mystically oriented modernisms of Stockhausen, Scelsi, Messiaen, and Dumitrescu, and soon after developed his signature style while a student at Oberlin Conservatory. His debut album as composer, "Enter Houses Of" was released in 2009 on John Zorn's Tzadik label, and praised by the New York Times for its "hallucinatory intensity". A second album, entitled "The Soul is the Arena", was released in 2015 on Denovali, and was named a notable recording of the year by New Yorker Magazine. Pitchfork wrote that the album "combines his interests seamlessly into music that throbs with snarling exuberance." Both releases were performed by his longtime collaborators in the International Contemporary Ensemble (ICE).

He currently leads the metal band Luminous Vault as vocalist and guitarist, whose “Charismata” EP was released on Profound Lore Records in spring 2017. From 2012-2016, his solo electronic project Oneirogen (o-NI-ro-jen) toured internationally and released three full length albums on Denovali. He collaborated with director Zev Deans to create the score for Alien: Biotic, a short film commissioned by Fox as part of the official Alien: Covenant campaign. In 2016, the Los Angeles Philharmonic commissioned and premiered his “Lightmass” for their “Noon to Midnight” festival of contemporary music. He has also collaborated with Nate Young of Wolf Eyes on “Standard Deviance One”, which they recently performed at Tectonics Festival Glasgow with the BBC Scottish Symphony Orchestra.

Born in Minnesota, he has lived in in New York City since 2004, and received a doctorate in music composition from Columbia University in 2013, where he currently teaches.

“21st century chamber music that combines crystalline clarity with the disorienting turbulence of a sonic vortex.” - WIRE Magazine

“Plenty of people can write a one-off ‘amplified’ piece for chamber musicians, but few artists have built a language as stable and rewarding as Diaz de Leon’s.” - Pitchfork

TAK ENSEMBLE
Laura Cocks - flute
Liam Kinson - bass clarinet, clarinet
Charlotte Mundy - voice
Marina Kifferstein - violin
Ellery Trafford - marimba, percussion
with Mario Diaz de Leon - synthesizer

Sanctuary

Mario Diaz de Leon - Sanctuary

Svarte Greiner - Knive (2017 re-issue) coming oct. 6th. on Miasmah

11 years since it´s inception, the surreal and darkly romantic Knive still sounds like a mystery and something that´s hard to pin down. Svarte Greiner´s debut album feels like a trip into the forest at midnight, with all the sounds and impressions that comes with it. Spiritual, horrific and fragile in essence, it´s melancholic core is hard to shake off, and feels as present today as it did back then.

While starting off the sub genre of “Accoustic doom” back in 2006, it´s difficult to say what else to name it now, with it´s inspiration and elements from countless genres. The record flows through the dissonant cello´s and washed out vocals of “Ocean out of Wood” past the introverted church organs of “The Black Dress”, distorted guitars and wooden beats of “The Dining Table” to the operatic finalé of “Final Sleep”. Everything scattered with field recordings from crows, branches, walking, sleeping, rain, wind and who knows what. Knive stands on many feet, wherever they may be.

Erik K Skodvin´s path as Svarte Greiner have since been dwelling more and more into this world, picking each element apart to focus on them, stretching them out or cutting them down, looping, experimenting and flooding with reverb - trying to make time stop and night fall. But for now a re-visit to where it all started seems appropriate.

Brian Eno - Under Stars III

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