Melody from Dmitrii Shostakovich's Symphony No.5 embedded with rhythms from granular synthesis.

Granular Shostakovich

Audio composed for "Suture" - a contemporary dance production at the Maidment Studio Theatre, Auckland, 2006. Snippets of female voice reciting poetry. Delay. Granular synthesis. Percussive glitch. Numinous.

Remixed in July, 2024

Suturist

Minimalist. Zoned-out.

In an idle moment, a friend tapped out a rhythm on the headstock strings of my 6-string. I happened to be recording at the time. Valve was created around this arbitrary snippet of sound, which was looped to form the core of the track.

Valve

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"The making of this album first started as a recollection of music and sound design I’ve produced over the last couple of years for events and installations—interactive and immersive AV experiences. It was like creating a specific atmosphere for visitors where I’d take them into this sensorial but artificial experience within a very confined spatial domain. This is how the “Climats” concept emerged. 

Longer ambient and generative pieces thus found their own space in my repertoire, allowing me to explore more in-depth, non-linear execution with soft, moody and padded textures. Eventually, all this freeform material became available so I could extract parts of it to build more club-centered and straightforward tracks, but nonetheless, the list grew and all this softer-edged, more introspective works were aggregating over time.

At the time of the lockdown, it felt very natural to get back to it and finalize it as a cohesive whole. It was a very healing and a smooth process to work on these. From isolation, I could open this window to thoughts where I made up my very own Science Fiction story while working on the music. I really wanted it to be a one-hour soundtrack experience that I’d listen at home or driving while my mind would travel across all those musical scapes. It was never a formalized script, but the music spoke for itself with themes of anticipation, collapse, utopia, the world as we know it, the near and far future...

Creating the album was quite a sporadic production process that stretched over several years but it all came together and made a lot of sense in the context of the title I chose : TERRAFORM. The narrative of the album simply unfolds from Dawn to Dusk, and the listener navigates through the different climates that each track embodies."
— TÉNÈBRE

Terraform

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TÉNÈBRE — Terraform

Pieter Borgh - Undertow (Original) Music4Clubbers

Also released under Lomarthian (Coralie Martin on bass, synth and vocals - Stiobhan Ell on dark midi and sporadic glimmerings of guitar), our joint project - more in a post-rock kinda vein but merging with some subspecies of indietronica.

The Mustang was played through an Alesis BassFX foot pedal into an old tube amplifier and recorded using a single AKG mic. Aeons later, synth parts were written around and layered over the existing structure of Coralie's freeform explorations on bass.

The still of Coralie was taken from a short video of the recording session in our Ōpaheke home.

Ōpaheke Murmurations by Lomarthian

"Basstiche" - when you're scrolling through sick bass patches and each one is as good as the last, so you use them all. Not meant to be taken too seriously, but a fun and engaging track nonetheless.

https://audiophyla.bandcamp.com/track/smorgasbass-2

Smorgasbass

A retro-synthwave reworking of a song by Aleksandr Sinitsyn and Soyuz Kompozitorov that featured in Sergei Solov'yov's cult film "ASSA" from 1987. Here's my video edit: https://vimeo.com/manage/videos/1083458698

This is the instrumental version without the original stem from the soundtrack.

VVS by Sonophyla

VVS [Helios mix]

Spaziale (Pessimist Remix)

All 52

Remake of a previous track, this version much better - She H8tes Me

Domestic

Producer of mainly instrumental tracks, both electronic and analog, in a range of styles.

Smorgasbass

Sonophyla [ AKA SyneSeeder ]

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