sonic-attack Ancients EP. Ambient in all its glory

Ancient

Abydos

03 - Abydos

What Else

Die Seherinnen : Jeff and Jogi / Fatima and Fabian - excerpt

4 Sep 2022

Last year I captured calls from two chatting adult Whooper Swans at the Bothnian coast. This year they were accompanied by two juveniles. One night the conversation between the swans was intense, it almost felt listening to a concerto.  

Umeå commune, Västerbotten County (63.39 N, 19.54 E)

Primo-EM172s

03_06.14

Whooper Swan concerto

To illustrate the sample pack Upright Acoustic Bass by Larry Seyer in SFZ format up on Pianobook. I reworked an old collab I made with the artist Melusi (and my other alter-ego - Tracing Arcs).
Also uses the LABS instrument from Spitfire Audio - Micahs Choir.

Anomaly(Powder Blue)

Anomaly (Powder Blue)

Matisse [Single]

Diego Castro, electric guitar / Nicolás Kliwadenko, electronics
Relincha Festival, Valdivia, Chile, November 24, 2017

http://aaroncassidy.com/product/the-pleats-of-matter/

The Pleats Of Matter - Diego Castro & Nicolás Kliwadenko - Relincha Festival, Chile, Nov 2017

Convex (2019-2020) 
for large ensemble of 13 players

Flute (Alto Flute, Piccolo)
Oboe (Cor Anglais)
Clarinet in Bb (Bass Clarinet)
Alto Saxophone (Baritone Saxophone) 
Horn in F
Harp
Percussion1
Percussion 2
Piano
Violin I 
Viol II 
Viola 
Violoncello

composed for Grossman Ensemble 

Program note:
The uncanny secret about the experience of falling apart is
 that one can—even if only for seconds—capture the image
 of the day just the way light is broken up into a hundred
 shattered shades and bended hues when it passes through
 a prism.

Grossman 20200312 vs 0501

Convex (2019-2020)

A young man wishes to escape
Some place else it doesn’t matter where
In his heart he is already there

In his house he’s only a guest
His family is formed by strangers
He cordially said goodbye and left

(I) Can always find
A new way to move around
A new way to fall
To restart it all somehow

I can figure out
How to adapt to any town
Make them adapt to me
It seems I’m winning every round

It never stops he seems to learn it all
He made a mess? He doesn’t wanna know
Certain things are better untold

There’s nothing else there’s no choice at all
His eyes are paths they could as well be molds
They shape the ground and all that surrounds

Can always find
A new way to move around
A new way to fall
To restart it all somehow

I can figure out
How to adapt to any town
Make them adapt to me
It seems I’m winning every round

@NelsonDevereaux on Horns
@MaxDevereaux on Backing Vocals and Percussion
@JulioBaca on Electric Guitar

MUSIC VIDEO

Restart

Музыка Для Мытья Посуды

In a constant pursuit of a theatrical dramatization of sound, I am deeply interested in electronic music, music of oral tradition and, for their physical presence and sonic qualities, bass instruments. By delving into the physical connection between the musician and the large instrument, I aim to transport listeners into visually engaging compositions, where micro-rhythms and grooves hold a central role. One of my main concerns is represented by an effort to develop structures based on techniques used for sound synthesis and electronic treatments. More generically it reveals my lifelong compositional aim: that is to attain a consistency between the approach in composing for instruments as well as for electronics, an approach that I attempt to integrate and structure through computer-aided composition tools that I personally develop. 

Raised in one of the "Pasolinian" working-class neighborhoods in the West side of Rome, and having spent most of my adolescence in direct contact with the street, I have always been drawn to the poetic violence of this reality. The tension between a personal inclination for introspection and a life deeply entrenched in a vibrant, yet challenging, urban environment has been a constant companion, shaping and defining my creative persona. 

In my music, this tension gives rise to a dramaturgy that oscillates between two extreme temporalities, leading to a dynamic interplay between kaleidoscopic movements and introspective explorations. One is tethered to overwhelming, vertiginous, overflowing, and compulsive rhythms, while the other is more intimate, poetic, and intertwined with the expressivity of the spoken word – like in the song cycle Gradual Abruptness (2022), on the verses of the Italian poet Amelia Rosselli (daughter of the anti-fascist partisan Carlo Rosselli).

These axes of research find contrasting artistic declinations, leading to the composition of [S]toccata (2019) and High Voltage Toccata (2021), – where the pianist and organist are challenged in a body duel with the instrument  – of I Sing the Body Electric (2020) – where the double bass becomes one organic body with the musician and with the electronics – in Overdrive (2020), a low-frequency trio, transposed into a distorted and paroxysmic world – or, again, in Lignes à Haute Tension (2023) for 12 spatialised cellos ¬– where the conductor, in the center of a network of instruments, controlling the trajectories of sound in space. 

Ongoing Projects :
On the Edge, for 6 soloists choir and electronics
Texts by Amelia Rosselli, Sylvia Plath and Dino Campana
Premiere : SWR Vokalensemble / Donaueschinger Musiktage (Donaueschingen, DE) / 2024

Espaces Blancs, for soprano, clarinet, trumpet, double bass and electronics
Premiere : Commande d'État : Mathilde Barthelemy / Compagnie Angle Aigu / GMEM / Festival Propagations
(Marseille, FR) / 2025

Faro, for soprano, ensemble and electronics
Esemble Musikfabrik / Festival ManiFeste / IRCAM (Paris, FR) / 2025

Die Seherinnen : Jeff and Jogi / Fatima and Fabian - excerpt

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