„pan dora“ is based on Bernhard Weiss’ music for the butoh-performance „PanD’orA - Shades of Hope“ by DaniMayu and her Company MayuKan. Sounds and fragments of the original soundtrack are condensed into an independent track. „pan dora“ consists exclusively of partially heavily processed recordings of acoustic instruments (gongs, kamalen goni, windchimes, cymbals and tibetan singing bowls) and field recordings.

The performance was to have taken place in Vienna in early November 2020, but had to be cancelled and postponed indefinitely due to a lockdown.

About the piece „PanD’orA - Shades of Hope“:

After 20 years of being a butoh performer and choreographer, DaniMayu revived her Company MayuKan in order to create her new piece „PanD'orA - Shades of Hope“. In her new production Dani Mayu is honouring her body of work by incorporating quotes from over 30 pieces of hers.

Starting from Pandora's Box, the members of the Company show different aspects of hope in the tension between the general positive connotation of today and in the sense of Friedrich Nietzsche, who in „Human, All too Human“ describes hope as the worst of all evils.

MayuKan:
Concept / Choreography / Costumes & Stage: DaniMayu
Dance: DaniMayu, Jule, Michaela Mab, Runa Hatariy, Stephanie Tietz, Theresa Grießenberger

butoh-danimayu.com

Music played, recorded, produced and mixed at home by Bernhard Weiss, 2020
Fieldrecordings recorded at various places in Portugal and Switzerland by Bernhard Weiss, 2011

Pan Dora

Nitt Nitt

Pure Air

Silvery Water

Joan Jordi Oliver is a musician from Spain based in between Zürich (CH) and The Hague (NL). Trained as a classical saxophonist and as an electroacoustic composer, his artistic practice has explored many different facets of music making, constantly oscillating in between interpretation of classical and modern literature, composition, free improvisation, experimental music, multimedia projects and collaborations in all possible directions.
The COVID pandemic supposed an important shift in his artistic vision, and he progressively abandons the more gestural and performative approach to embrace a more introspective relationship with the sonic experience. He started discovering ambient and drone music and getting familiar with the work of artists like Tim Hecker, that have influenced him deeply. In 2021 he releases his first album of experimental electronic ambient “Enlaire”, starting a journey that continues to expand into the permanent exploration of new sonic realms.

“What was a crucial sound experience in your life?”
Memory allows us to construct our own interpretation from our experiences and create a narrative that connects isolated moments in our life to configure a journey that, somehow, might make sense. I remember many first times with albums that have influenced me - I remember the environment, the feeling, maybe a specific location (I usually went on walks around my neighborhood in Zürich as discover-new-music sessions). I gather beautiful memories of how a work made me feel, and how it created this invisible connection in between the artist and myself. I believe that this sort of connection is what I want to achieve in my own music. To connect with strangers, to create a special moment for them.
It’s difficult to pick a specific moment, but because of its relevance, there is one that comes to mind. A few years ago the Youtube algorithm brought a really unexpected musical selection when I was cleaning up the studio after a session of work. I would usually play it soft in the background and focus on rolling the cables well, but in that moment the sounds paralyzed me. “Andata”, the opening track of Ryuichi Sakamoto’s album Async, was playing. That was an encounter with a music my intuition was dreaming of. “This is it. This is the music I wanted to make without knowing it. It’s here, it’s real. This Sakamoto guy is my new hero”. From this point on, I started exploring artists related to this aesthetic and began a really beautiful journey, finding music that I emotionally connected with. That moment in the studio was a really significant one and, in this imaginary map of my memory, I marked it as a crucial shifting point in my artistic vision.

LINKS:
https://soundcloud.com/user-351028795
https://joanjordioliver.com/

Tracklist (fragmented, overlaid):
Hiroshi Yoshimura - Water Copy
Joan Jordi Oliver - abandoned project
Tim Hecker - Whitecaps of White Noise I
Forest Management - Various Sources of Light
Joan Jordi Oliver - Found soundfile I don’t remember making
Toshimaru Nakamura - NIMB #53
Alvin Lucier - Two Circles (performed by the Ever Present Orchestra)
Lucy Railton - For J.R
Frank Martin - Agnus Dei (performed by the Netherlands Chamber Choir) 
Joan Jordi Oliver - abandoned song, improvised on the 03.12.2020 
Kara-Lis Coverdale - Grafts
Claire M Singer - Wrangham
Joan Jordi Oliver - Llur

Field recordings include environments from Copenhagen, several cities in the US, Montréal, Hong Kong and I believe a flight from Paris to New York

MNEMOSYNE #030 - JOAN JORDI OLIVER

o seu melhor (collab) - subd + r.s.stropharia (15.12.2021)

part of the album "ta vira"
https://bernhardweiss.bandcamp.com/album/ta-vira

feat. Maria Grünbaum (vocals)

They

part of the album "ta vira"
https://bernhardweiss.bandcamp.com/album/ta-vira

CD: Syntenergheia Project (2015)
by Maurizio Carrettin
Label: Centaur Records  www.centaurrecords.com
https://www.google.it/?gws_rd=ssl#q=Syntenergheia+project

The word “Energheia” derives from Greek and means “transformation, change in progress”.
Tools of transformations: Absynth, Cubase, Finale, WaveLab, Waves plugin, Steinberg plugin, StillWell Audio plugin.

Essential changes:
First Change: the creation and discovery of ancestral and primordial sounds, which show power and impulse to the  evolution.
Second Change: allow particular sonorities to reveal and express their own characteristics.
Third Change: drive these revelations toward that esthetic and evolutive harmony recognizable in them.
The combined resonances of the modules, the timbre interferences, the undulatory summations or decreases which took place in the First Change have produced active and vital sound substances. In the Second Change, the free expression concept of sound components has made acoustic agglomerations of further amplifications, and very strong evocative features.
Then, recalling that the pieces composed were by programming software, virtual machines and surfaces, they often are delineated by a sense of cold dynamic and inevitable static timbre. I tried to limit this feature by introducing in the
Third Change the executive prevalence operator, intervening with real-time actions, also recognizing to the Synthesizer
(Absynth) the innate amazing personality in its structure. Finally, the virtual scores have supported the meeting of all
acoustic events, that in the guided localization of combinatorial possibilities are influenced reciprocally, releasing almost “vital” phenomena, amenable to the primordial matter evolution.

on CD
SyntEnergheia Project 2013/14
All Tracks, full duration:
1 Energheia uno 9:36
2 Energheia due 8:33
3 Energheia tre 7:46
4 Energheia quattro 10:34
5 Energheia cinque 8:02
6 Energheia sei 7:34
7 Energheia sette 7:12
Total Time: 59:20
All works composed,performed, engineered and editedby Maurizio Carrettin (2013/14)
- P - © 2014 Centaur Records, Inc.
www.centaurrecords.com

Download All CD

Energheia Due Demo ( from CD "SyntEnergheia Project" )

part of the album "ta vira"
bernhardweiss.bandcamp.com/album/ta-vira

Ideas

Part of the compilation "Ambient selection part I" by the Argentinian label Temiong. 

You can download the track here: https://temiongrecordings.bandcamp.com/album/ambient-selection-part-i

Please support the participating artists by paying for the music!

Ambient Selection Part I

Train du Nord

Mainly Granular Synth for a more effective neo-expressionism in music.
Electronic, Experimental, Contemporary, Noise, Soundtrack, Ambient, DarkAmbient, Industrial, Drone
and....... a bit of gothic

Energheia Due Demo ( from CD "SyntEnergheia Project" )

Maurizio Carrettin - CmSynStudio

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