The Permafrost Squirms [disquiet0511]

Made as part of the Disquiet Junto Project 0511: Freeze Tag
To Record a new piece of music based on your consideration of freezing (and thawing). I clearly went with the thawing.
The two panned high synth parts recoded using norns ‘fall’ program. Detuning delay added in bitwig. Drone parts using one of the norns drone apps (can’t recall which one).

More on this 511th weekly Disquiet Junto project – Freeze Tag (The Assignment: Consider freezing (and thawing) as a metaphor for music production) – at: https://disquiet.com/0511/ 1

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0511-freeze-tag/

The Permafrost Squirms [disquiet0511]

Cigales, criquets, grillons et chiens au crépuscule
Slatina, Croatia, 11.08.2022
https://zuunzug.com/2022/10/18/ormoz-cakovec-slatina/

Cicadas, crickets, locusts and dogs at dusk

Anthill

Création publique : Festival Futura 2023 CREST DROME

Ici, « les objets sonores », ne sont plus des objets inertes mais bien des individualités avec toutes leurs singularités et leurs multiples facettes plus ou moins accessibles. Ils sont posés, mobiles et ambivalents.
La pièce est composée autour de quelques sons pivots où le sens s'efface, choisis essentiellement sur des critères de grains et de profil dynamique.
L’origine des sons enregistrés manipulés ou bruts ne compte plus, ils se retrouvent entrelacés, en interaction et déconnectés de leur signification première. Le projet musical reste toujours l’interrogation sur « l’écoute profonde personnelle » pour échapper à la pesanteur de l'image. La superposition et l’enchainement des sons et des signes ne conduit pas une écoute seulement horizontale et linéaire.
Il y a un monde entre la parole, le son et l’écrit. Cette évidence devient une préoccupation constante. Parcourir ce monde est un vertige bruyant, chaotique. Dès que les sons enregistrés se trouvent engagés dans l’écriture de la composition ils ne sont plus passifs mais se débattent comme les éphémères pour émerger, s’élever et exister dans le flux en perdant leur sens. Ainsi s’écrit une « narration musicale abstraite » où les images fugaces sont toutes personnelles mais pas sans silence.
Composée au studio AMIRA - version stéréophonique
Version octophonique disponible

Sons enregistrés entre 1992 et 2023 (les sons n' ont pas d"age ni de lieu de naissance)
Premier pas dans un marrais glacé au pays de Rabelais ("paroles gelées").
Les derniers sons sont issus d'une résidence non surveillée et joyeuse à Strasbourg (merci à Carpaccio-Cathédrale et l'Hotel Graffalgar).
Les paysages sonores n'existent pas, nous les composons. 
credits
from NUIT et JOUR, released July 6, 2022

PAS SANS SILENCE

StudioJam020923 with some new ‘friends’: ´Flux´ by ioLabs is sequencing ; ´Odessa’ (Xaoc Devices). Also nice delay effects with “Basil” (Bastl Instruments) and other soundscapes (recorded modular sounds with Ableton) in background.

please check the video on my channel: https://www.youtube.com/watch?v=DgK7ImOHGM4

UnusualEncounter II

Rijeka, Croatia, 7 November 2022. 
Last track of the album A Hundred Days in the Balkans: https://zuunzug.bandcamp.com/album/a-hundred-days-in-the-balkans

A Hundred Days in the Balkans

Port of Rijeka

Port Of Rijeka

Basilica of Saint-Sernin, Toulouse
latitude	43.608404000296    longitude	1.4419401252353

The abbey of Saint-Sernin was an ancient foundation. St. Sylvius, bishop of Toulouse, began construction of the basilica towards the end of the 4th century.

Its importance increased enormously after Charlemagne (r. 768-800) donated a quantity of relics to it, as a result of which it became an important stop for pilgrims on their way to Santiago de Compostela, and a pilgrimage location in its own right. The size of the current building and the existence of an ambulatory may reflect the need to accommodate increasing numbers of pilgrims.

Basilica of Saint-Sernin, Toulouse

sound captation : 18/03/2022 - 19/03/2024 -
re-worked           : 23/03/2024

Cicada 1559 ( Good Luck )

During the 5th or 6th century a church was erected, decorated with golden mosaics; the current name derives from the antique name, “Deaurata”, (Latin: aura, gold). Linguistic evidence from inscriptions that accompanied the mosaics suggest that the church was in use by the Visigoths, who adhered to Arian Christianity, before coming into Catholic hands following the Battle of Vouillé in 507.[2] It became a Benedictine monastery during the 9th century. After a period of decline starting in the 15th century, the basilica was demolished in 1761 to make way for the construction of Toulouse's riverside quays. The buildings were restored and a new church built, but the monastery was closed during the French Revolution, becoming a tobacco factory.

The basilica had housed the shrine of a Black Madonna. The original icon was stolen in the fifteenth century, and its first replacement was burned by Revolutionaries in 1799 on the Place du Capitole. The icon presented today is an 1807 copy of the fifteenth century Madonna. Blackened by the hosts of candles, the second Madonna has been known since the sixteenth century as Notre Dame La Noire

The current edifice was built during the 19th century.

Black Madonna ( Notre Dame La Noire )

Paysages sonores d'Ivujivik / Marche au pays réel

De Carnibus: performed & recorded by Matteo Mariano in 2007.
25.765: performed & recorded by Matteo Mariano in 2008.
Remixed in 2019. http://macrogramma.com

Original cover art by Riccardo Arena (2008). http://www.riccardoarena.org

Macrogramma Volume 3 enters more decisively into the border area between noise and music, where sound is at the same time narrative event and abstract construction.

The tracks in this release were all composed to be soundtrack for two audio-visual installations by Riccardo Arena: "De Carnibus" and "25.765" (part included in “Four Times A Tree", a vast art project presented by Riccardo Arena for the first time in Shanghai in 2008).

The tracks differ from the original ones of the period. In particular De Carnibus, with its three parts, is a much expanded version compared to what was used in the 2008 installation, which included only De Carnibus 3.

***
Macrogramma Volume 3 si addentra in modo più deciso nel territorio di confine tra rumore e musica, dove il suono è nello stesso tempo evento narrativo e costruzione astratta.

Il filo conduttore che unisce le tracce qui presenti risiede nel fatto che tutte derivano da elaborati destinati a due distinte installazioni audio-visive di Riccardo Arena: “De Carnibus” e “25.765”. Quest'ultimo parte di “Four Times A Tree”, un ampio progetto artistico presentato da Riccardo Arena per la prima volta a Shangai nel 2008.

Il mix presenta molte differenze rispetto agli originali del periodo, in particolare De Carnibus, con le sue tre parti, è una versione molto ampliata rispetto a quanto fu usato nella installazione originale del 2008, che includeva la sola De Carnibus 3.

macrogramma volume 3

De Carnibus 1

field recording , audio-naturaliste .

enregistrement de terrain .
Prendre le risque de se confronter à l’imprévisible, à l’incontrôlable, au fragile .
Collectioneur d'ambiance atypique 


https://capture280472309.wordpress.com/




Basilica of Saint-Sernin, Toulouse

Capture

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