𝕄𝔸𝔾ℕ𝔼𝕋𝕀ℤ𝔼 𝕋ℍ𝔼 ℂℍ𝕀𝕃𝔻ℝ𝔼ℕ

Kissing You

Where Does the Time Go?

Original Score inspired by the Adrian Tchaikovsky novel Dogs of War

Morrow Incorporated

LOOPDIGGERS SPEED CHALLENGE 89 "JUKE BOX 5"

LOOPDIGGERS CHALLENGES

JUKING - LOOPDIGGERS SPEED CHALLENGE 89, "JUKE BOX 5"

Acoustic Guitar : Colin Reeves
Double Bass : Quazar
Drums : JD Vance
Piano : J Brolin
Percussion : Ivar
Synths and Effects : Boneve
Produced by Boneve for Redmond Records 2023

Late Night Jam

U.A.O. Instrumentals - Hard Working Woman (Produced By Unlike Any Other Records)

Fomando parte de:
https://earsheltering.bandcamp.com/album/3pr-iii-11ses
@earsheltering

--
SONIDO POSTAL - CONFLUENCE
De forma artificial, el audio toma forma de collage progresivo, donde la mezcla de grabaciones de campo comienzan en entornos naturales, con sonidos que representan esa espacialidad, poco a poco va mutando hacia sonidos en los cuales los humanos tienen alguna participación más directa, dilucidando de a poco un sonido más urbano, hasta terminar en el ruido de la ciudad, que refleja más la parte industrial de la misma.
Confluencia retrata una mínima posibilidad de las diferencias y similitudes que pueden contener estos entornos, pudiendo ser apreciados a través del sonido y la representación visual imaginativa, ya sea del lago o el mar, hasta la ciudad.
El audio es una recolección de grabaciones de campo realizadas en diferentes lugares de Argentina, realizado por Damián Alférez:
- Playa acantilados, Mar del plata (sonidos de piedras y el mar).
- Laguna de los Padres, Mar del Plata, Buenos Aires (sonidos del agua, cotorras, gente, insectos).
- Chapadmalal, Buenos Aires (sonidos de ranas y perros).
- Mar del Plata, Buenos Aires ( sonido de gotas de agua en un departamento).
- Puerto Madryn, Chubut (sonidos de la calle, llamadores de ángeles, skates).
- Centro de la ciudad de Mar del Plata (sonidos de vehículos, ventiladores, interferencias).
- José Marmol, Buenos Aires (sonidos de vehículos, y vendedor de chatarra)

Confluence

This track is part of Athenian Truckstop Issue #4 Songs for Dreaming release, found here:
atheniantruckstop.bandcamp.com/album/iss…-dreaming

The theme was dreams

Todd Tuttle https://soundcloud.com/user-849753517-658869299 drumset, percussion, voices, whistling, words

@douglasmseidel: banjo, bass, beans, drum, cowbell, gong, organ, other stuff, penta guitar, toy piano, water jug


it started with a plastic 24oz jar
half filled with foamy yellow liquid and some very sticky residue at the top

tom of tom and jerry
fame
had one broken ear
and he was sitting on the ledge of the garage window

I can’t remember what I was doing

but I know I was wearing a
poultry keel necklace
that laid so elegantly
over my clavicles

every thought
every measure
gets bigger and faster
and further from the next

plumb shucks said thumb plucks
untuck that loose end of the dumpling lover
and wrap some warm rising dough around your head
dumb luck kept ducking under the fun chunks
until he realized he was bouncing on a shingle instead
he said that’s some kinda skipping slip of the bliss bud

chimichuck said to raisin brains

wrench mouth woman has a heart in her throat
with the wave of her stick arms she weaves me a coat
the birds that are flying carry sticks to her breast
crescent mouth moon lucky charms and the rest

sticky residue

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

big thanks to .47 seconds / Tomas Horn for an inspiring open collab https://soundcloud.com/tomas-horn/sanskritual

Late Night Jam

Boneve

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