noise / ambient

Frozen Ashes is an examination around the themes of “Cold.” We’ve brought together some of the underground’s most exciting artists:
Evitceles, Diamondstein, Lighght, Thugwidow, Sangam, Ross Birdwise, Lila Tirando a Violeta, Jamie Awakshidar, Snakepiss, Ridge Racer, Sour Gout, Yoshimi, Ganz Feld, fdsdf, and VVV.
These artists bring a wide breadth of sonic identities to the compilation's themes.

Frozen Ashes

In Greek mythology, Scylla (pronounced /ˈsɪlə/, sil-uh; Greek: Σκύλλα, Skulla) was a monster that lived on one side of a narrow channel of water, opposite its counterpart Charybdis. The two sides of the strait were within an arrow's range of each other—so close that sailors attempting to avoid Charybdis would pass too close to Scylla and vice versa.

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Sound sources:
Propellerheads Reason, Hungarian shepherd's flute, crackling vinyl, crackling fire, North Atlantic Ocean, my own voice, a buzzing fluorescent tube, pulling a bunch of branches over the ground


Scylla

In Greek mythology, Charybdis or Kharybdis (pronounced /kəˈrɪbdɨs/; in Greek, Χάρυβδις) was a sea monster, once a beautiful naiad and the daughter of Poseidon and Gaia. She takes form as a huge bladder of a creature whose face was all mouth and whose arms and legs were flippers and who swallows huge amounts of water three times a day before belching them back out again, creating whirlpools. In some variations of the tale, Charybdis is just a large whirlpool rather than a sea monster.

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Sound sources: Propellerheads Reason, Hungarian shepherd's flute, metal wind chimes, glass wind chimes, crickets and sea waves in Canada (recorded by Axel Baune), jumping on a fallen tree in a swamp, my own voice, a small bell, processed water recordings

Charybdis

The dedication of the opus is twofold. On the one hand I wanted to commemorate the hungarian pioneer electronic composer: Iván Patachich. On the other hand I wrote it to my friend, the excellent percussionist Gábor Palotás, who is also the customer of the piece.

Formerly I read in a scientific magazine that planets and stars play music, in bigger celestial bodies the soundwaves are capable to modulate the light of the stars. This moved my fantasy and driven me to dig deeper into the territory of the music of the spheres, In no time I started gathering the sounds of planets and stars. I wrote letters to the SETI and NASA, who in a turn of mail provided me with countless radio signals transformated into hearable audio ranges. I collected samples and read about the topic for years, until once it combined and came to my mind what I wanted to do.

Böethius’s writing about the Music of the spheres, the various conjunctions of planets, moduses in what planets dominate have inspired numerous composers already. Nevertheless centuries had to elapse so with the help of our technical evolution we could grow gigantic „radioears” to ourselves and listen to the eternal music of the Cosmos. Today we can listen to the non-stop radio stream of the Universe anytime.

The first „transmission in the aether”, the first music which played was undoubtedly the Big Bang. These first soundwaves are about 52 octaves deeper than our regular musical „a” sound. Making calculations it is easily shown that this is an infinite looking period, in which one soundwave sounds only once in 200 000 years.

Modern science proved, that sound influences the same spectrum’s higher waves too, namely the light. Such as in the air on Earth soundwaves spread in the huge, compressed, excessively hot gas spheres and incandescent stars. These sounds are similar from a physical point of view to the pipes of an organ, they remind us to them. According to astronomers the sound of a star depends on a few parameter, like its age, size, extension and chemical structure.

The sound appears as the vibration of the star. I was mainly interested in residual stars , i.e. the special types of neutron stars: pulsars (really quickly rotating neutron stars, for example the period of the Crab-pulsar is 33 milliseconds) and magnetars (neutron stars with gigantic magnetic field).

I composed a bouquet out of these. Strangely it made organlike all-interval, really dense cluster. Later, to somehow make this vertiginous monster move, I used various effects. I wrote down chaotically swaying pendulum motion them thus getting an irregularly increasing and sinking yet constantly static/restless mass of sound.

The motion of the marimba is controlled by the equation of the mathematical or the physical pendulum. The really quickly increasing and sinking, small motives made out of a few sound – which are slowly altering in time – made an audible contrast with the electronic material. 

Several synthesizers, variously tuned gongs and percussions can be heard beside the  clarinets, trumpets, trombones, detuned piano and japanese mouth organs – such as the shō.

Ákos Nagy - Wailing of Pendulum (electroacoustic version)

Different kind of synthetic microtune scales

Zsuzsanna Aba-Nagy: harp
Zsolt Szabó: viola da gamba
Roland Szentpáli: serpent
Róbert Mandel: hurdy-gurd 

recorded/mixed by: Mihály Kádár/ Ákos Nagy
http://www.hangmunka.hu/

HOMMAGE Á ROTHKO

I’ve been searching for a long time how I could totally merge the spectrums of the acoustic instruments with the spectrums of electronic instruments. I would like to do some „Mission Impossible” thing as I am trying to handle an acoustic medium as it would be an electronic one and vice versa.

Robert Mandel found me with the idea that he and Zsuzsa Aba-Nagy wanted to widen their own-founded Geneamus Ensemble named formation which used historical instruments from Vienne and Budapest and electronic instruments together.

As I think to myself as a par excellence electronic composer because I am trying to make electronic soundings in acoustic medium I really liked the idea of mixing the electronic music with the olden instruments which are much more richer in intonation and have more colours than modern instruments.

I have been experimentalising a kind of multitimbral way of composing where the melodies are accompanied by shade voices. In this case I mean the melody as a vectorial direction and I mean the same for the tonal melody but maybe while listening to the tonal melody the listener can feel an arrival or disappointment feeling (unresolved, surprise-cadence, Neapolitan destination tone, minor edge VI, alterations, et cetera). These shade voices are the main reasons for making the unisono voices multitimbral. The multitimbrality is when there are more tones at the same time which can turn into each other back and forth. At this time the spectrum is broadened or narrowed by harmonics or inharmonics so the fluctuation is continuous.

This can be easily put with my former multilayer way of composing together, where I could get complex sound density because of the several hundreds of layers which I wanted to control afterwards. We could call it vectorial multitimbral synthesis where the oscillators and the acoustic instruments morph each other’s tone as a frequency or phase synthesis.

Ákos Nagy - Hommage á Rothko [Geneamus version]

Nagy Ákos_In dem Nebel_for HAANG

Available now...
https://collapsedstructures.com/album/frozen-ashes

Feast Of Roses

Evitceles - THE CLIFF BEHIND MY BACK WHERE MY HAND USED TO BE HELD

Yoshimi - In A Cold Mud

Diamondstein - Wooden Zephyr

Ross Birdwise - Winds Selkirk

Dreams in post-industrial landscapes. 

Demo's and other inquiries: collappsingstructures@gmail.com

//Experimental Club
//Ambient
//Industrial
//Dreampunk
//Ghost Tech
//Electroacoustics

Ross Birdwise - Winds Selkirk

Collapsed Structures