Elettrore

Lambmother. - Elettrore

Mind over MIDI - I
https://mindovermidi.bandcamp.com/album/i

I Sit

I Sit (from I)

Let Me Bleed

From the LP GEDULDIG (with Kónni Behrendt), out now on Ana Ott.

Geduldig

Steffen Roth - Geduldig

Marco Lucchi : analog synthesizer, electronic tampura and tape

droning with "Medea" by Wim Mertens

25 marzo 2022

Trobar clus

Bonjour Tristesse

One track from the third release in the new SYM CD-series!
THORSTEN SOLTAU - Gewächse im Zwielicht
https://www.dronerecords.de/album.view.html?album=21322

This Friesian multi media artist with two works on one CD: his compositions combine drone-ambient and electro-acoustic elements in a wonderful (sometimes bizarre, sometimes melancholic) way, various instrumental and electronic sources are building a hypnotic web, very complex and with many unexpected twists and surprises in the mix..  this CD is like a little wonder!

"MUSIC.ART.MORPHOSIS.
A reflection.
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense able to picking up things that may slip the attention of others. My ears are trained to scan the places I visit – crowded metropoles, remote spots in nature or even familiar surroundings of office or home. My way of listening can be divided in two modes: the perception of sound on an unconscious level or the deliberate focus on sonics.

Becoming a sort of scanning antenna had a profound effect how I compose. The experience of my listening is reflected in my sound works. As an example several compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (and are therefore easy to recognize with headphones) or equalizer settings. Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.

My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception:
Repetition becomes a reward for the listener.

On sounds.

My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error during sound design.

One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces which allows for unexpected results. Some of my composing techniques are deliberately executed against their primary intention as well. This allows for an ever-morphing character of my works until the final touch is added.

On sonic morphosis.

My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. As explained above the use of complex treatments and randomness allows for a sound that constantly shapes into an liquid and organic sculpture. The sonics I create are further exposed to imperfections and errors – like body and mind aging or perishing over time.

Errors are integral and welcome. Most of them occur as a glitch in the analogue or digital domain during sessions or setup changes. They give a further layer to the music resembling small failures made by the composer – adding a human touch despite their virtual origin.

On concepts.

My solo work has always been underlined by concepts. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition as well."
https://thorstensoltau.de

THORSTEN SOLTAU - Das Begehren

Poor Naive Little Creature

⠑⠆⠎⠥

Things i do for school

An all new collaborative release by two exciting Belgian artists:

"The first time we collaborated as a duo was for our interpretation of The Sinking of the Titanic by Gavin Bryars at les Ateliers Claus. At that time, there was an audience surrounding us. Now secluded and on our own, we went back to the same venue and locked ourself for 2 days arranging and recording the music Ben Bertrand wrote while he was in confinement.

We designed a dense and mineral triptych. Digging into this music, we experienced the current and pressure of the passing time. At some point we saw light coming in. The transformation has already been done, reversion to fundamentals is now our single option." - Ben Bertrand & Otto Lindholm

Ben Bertrand
Ben Bertrand is a Belgian Bass Clarinetist and composer. With his instrument and countless machines, Ben creates his live with a hypnotic web of sounds. Listening to his music is like sitting at the sea, watching a slow motion of our crazy life sailing by. With his former works (Era/Area, Off-Record 2017 and NGC 1999, les albums Claus 2018), Ben toured in Belgium, France and Netherlands (Meakusma Festival, Ancienne Belgique, Le Lieu Unique, Schiev Festival, Le Guess Who?, World Minimal Music Festival). His last album, Manes, has been released in March 2020 in collaboration with Stroom and les albums claus.

Otto Lindholm
Brussels-based composer evolving in drone music and modern classical, Otto Lindholm employs an array of loop pedals and electronic effects in partnership with his double bass to produce a range of rich and voluptuous tones, emotions, and elongated melodies. He released music on Icarus Records, Gizeh Records, Houndstooth, Blackest Ever Black, Aurora Borealis Recordings, Bedouin Records.

TR066 - Ben Bertrand & Otto Lindholm  - Acerilla

As you can imagine we are under huge pressure at the moment and are working flat out to ensure Cafe OTO survives this. The impact of this situation is extremely acute for small venues like ours and we need all the support we can get to pull through. Please donate what you can, if you can. Thank you. 

Cafe OTO opened in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream. It comprises one large cafe/performance space open during the day serving food and drink with an evening programme of live music almost seven nights a week. 

OTOROKU is part of OTOProjects - a not-for-profit Community Interest Company (CIC) that has been set up to manage the programme at Café Oto. Any profits from OTOROKU are put back into supporting what we do and will help us to continue programming the best musicians and performers from all over the world.

www.cafeoto.co.uk

TR066 - Ben Bertrand & Otto Lindholm - Acerilla

cafeOTO

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