hmmmnhmnhnh

From Caterina Barbieri's debut album Vertical (Important Records/Cassauna, 8 October 2014) composed for Buchla modular synthesizer and vocals.

This version of Undular is a stereo mix from the original 8 channel one.

Vertical is a meditation on primary waveforms and the polyrhythm of harmonics in synthetic sounds, stretching the boundaries between drone, minimalism and techno. Barbieri's minimalist focus arises from the exploration of the stratigraphic potential of voltage-controlled sequencers, in terms of polyrhythm and polyphony. Employing synthesis, psychoacoustics and repetition as key concepts, the italian composer stylizes the dancing of wave cycles in severe geometries of time and space.
All the tracks were played, recorded and produced in Stockholm, at EMS (Electroacoustic Music Studios) and KMH (Royal University of Music) in Summer 2013.

Released by:
Cassauna/Important Records
Release date:
8 October 2014

Vertical has been reissued in February 2016: 
importantrecords.com/imprec/sauna22
bandcamp cassauna.bandcamp.com/album/vertical

www.importantrecords.com
www.caterinabarbieri.com

--------------------------

Side A

Undular
Pneuma
Limen

Side B

Perspectiva
Traum_abc

Music composed and performed by Caterina Barbieri in Summer 2013
Recorded at EMS and KMH in Stockholm (SE)
Mixed in Bologna (IT)

Buchla Modular Synthesizer + vocals
Traum_abc vocals by Ellen Arkbro









Undular

From Caterina Barbieri's debut album Vertical (Important Records/Cassauna, October 2014) composed for Buchla Synthesizer and vocals.
Vertical is a meditation on primary waveforms and the polyrhythm of harmonics in synthetic sounds, stretching the boundaries between drone, minimalism and techno. Barbieri's minimalist focus arises from the exploration of the stratigraphic potential of voltage-controlled sequencers, in terms of polyrhythm and polyphony. Employing synthesis, psychoacoustics and repetition as key concepts, the italian composer stylizes the dancing of wave cycles in severe geometries of time and space.
All the tracks were played, recorded and produced in Stockholm, at EMS (Electroacoustic Music Studios) and KMH (Royal University of Music) in Summer 2013.

Released by:
    Cassauna/Important Records
Release date:
    8 October 2014


Vertical has been reissued in February 2016:
importantrecords.com/imprec/sauna22
cassauna.bandcamp.com/album/vertical

www.importantrecords.com
www.caterinabarbieri.com

--------------------------

Side A

Undular
Pneuma
Limen

Side B

Perspectiva
Traum_abc

Music composed and performed by Caterina Barbieri in Summer 2013
Recorded at EMS and KMH in Stockholm (SE)
Mixed in Bologna (IT)

Buchla Modular Synthesizer + vocals
Traum_abc vocals by Ellen Arkbro









Traum_abc

From Caterina Barbieri's debut album Vertical (Important Records/Cassauna, October 2014) composed for Buchla Synthesizer and vocals.
Vertical is a meditation on primary waveforms and the polyrhythm of harmonics in synthetic sounds, stretching the boundaries between drone, minimalism and techno. Barbieri's minimalist focus arises from the exploration of the stratigraphic potential of voltage-controlled sequencers, in terms of polyrhythm and polyphony. Employing synthesis, psychoacoustics and repetition as key concepts, the italian composer stylizes the dancing of wave cycles in severe geometries of time and space.
All the tracks were played, recorded and produced in Stockholm, at EMS (Electroacoustic Music Studios) and KMH (Royal University of Music) in Summer 2013.

Released by:
    Cassauna/Important Records
Release date:
    8 October 2014


Vertical has been reissued in February 2016:
importantrecords.com/imprec/sauna22
cassauna.bandcamp.com/album/vertical

www.importantrecords.com
www.caterinabarbieri.com

--------------------------

Side A

Undular
Pneuma
Limen

Side B

Perspectiva
Traum_abc

Music composed and performed by Caterina Barbieri in Summer 2013
Recorded at EMS and KMH in Stockholm (SE)
Mixed in Bologna (IT)

Buchla Modular Synthesizer + vocals
Traum_abc vocals by Ellen Arkbro













Pneuma

Berths

Alone (Alone)

Inhalants - Side Opener (Jahiliyya Fields + Patricia)

live stereo capture. Oct. 11, 2015.

from Arguments for Trivialism: shastacults.bandcamp.com

CMOS

Vocals by U_U
Production by IKARI (SAWTOOTH)

U_U  -■-  IKARI  -  So Long

CHILDREN OF SILK EP 

spotify: http://spoti.fi/1N5wwpr
itunes: http://apple.co/1NMULtp
www: http://bit.ly/1JsCS1h
facebook: http://on.fb.me/1NJjrHP

"do not rename it when it can't be pronunciated. 
do not despise it when it is undressed. 
do not abuse it when it is in bloom.
do not only honor it inside buildings with marble vestments. 
do not stone it when beyond the walls of comprehension. 
do not kill it with gloves of silk for they will only soothe it.”

After the success of her first self-released EP “The Suspended Kid”, Sevdaliza releases her second batch of enigmatic songs on “Children of Silk”. The songstress/producer draws her influences from several textures like skin and glass. Sevdaliza’s melancholic visceral voice floats over beds of mechanical instrumentation, creating dynamics of chaos and order. Her songs have a philosophical questioning character, subjects like gender diversification and perception of emotion are strongly present. Diverse comparisons have been drawn yet it remains a difficulty to specify her in a particular genre. Rhythmic tensions build slowly into chaotic climaxes. Every retribution of her lyrics becomes more intense and personal, yet she isn’t able to break from that obscure statue of a woman. Children of Silk is now available worldwide via Itunes/Spotify.

lyrics:
this man of mine 
breaks to be desired 
this man of mine
a man to be admired 
this man of mine 
he reconsigned his heart 
this man of mine 
isn't yours, isn't mine

a man of glass
awaits his days
without a cause 
a gaze

some tales are meant to stay apart 
into a vague distance
some lives are better kept apart
bound to be inexistent 

MEN OF GLASS FEAT. ROME FORTUNE

Glimpse

     In Synecdoche, there are eight basic sound events, five synthesized pitches, and three percussion samples. Two tempos increase at different rates, creating the form. As the tempo increases, out of the range where we perceive rhythm, each note is heard less as a distinct event and as more of a single sound with a shifting timbre. Synecdoche explores the limits of human rhythmic perception.
     The piece uses self-similarity as found in nature—an object constructed entirely by repeated application of a single procedure. Self-similarity is reflected through the use of tempo changes. The listener may hear the faster tempo as a different event, but directly relates to the tempo in beginning of the piece.

artwork by Kazimir Malevich

Synecdoche

Premonition (2016) a film by Patricia Cram

Raw and live score by Kevin Gan Yuen // Travis Bean Standard + Reverb, Delay(s), Dist, Loop/Sampler, Field-recordings via Roland 404SX (to PA mix) + Sunn 2000S + Atlas custom 4x12 + Atlas custom 2x15 (series). 

Audio sourced from video captured by Lara Miranda on a SONY DSC-H20. Placement: mid-room

Thanks to: Patricia Cram, A.K., Lara Miranda, James Livingston/BLACK HORIZONS,  Aria Rostami, Daniel Blomquist, Ryan Page, Jen + Sean/ORRA, Lee + Brittany at Amnesia SF for facilitating and Atlas custom cabs (the series box is amazing!!!)

Glimpse

CRIMEWAVE

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