diaphanous lies
[...and she tugged the curtains shut—as if the frail sheer fabric could somehow shield us from oblivion]

When no relying matter could shelter its nuances,
a flattening will erase all material vicissitudes.
Frail images, simulations, and plasticity.

Tort, ruse or feint.
Its tyrannizing lies are nevertheless unfailing.

-----------------
electroacoustic composition - stereo audio


*This piece has a wide dynamic range, it is advised to be careful with the levels. Good quality headphones or loudspeakers are also recommended*

diaphanous lies [2022]

Recording of the piece Micro-Shocks on 24/05/22 during the concert at the Phonos Foundation (Barcelona).

In concert there is a video projection from 10m45s to 14m40s, the music at this point is more landscape. The link to watch it : https://www.youtube.com/watch?v=c9scircGep8

Statement of intent :


This piece is inspired by the theories of Brian Massumi, and I thought it would be interesting to freely interpret his concept of micro-shock. Our daily life, full of micro-perceptions and interruptions, as dazzling as they are subtle, is also inhabited by small moments of daydreaming. Those that are necessary for assimilation, phantasms, reorientations, hope, projections... The poetic and musical inspirations will take root in these suspended temporalities for their faint nature and their slightly psychedelic sweetness. The construction of the forms tries to translate the unfolding of a dream, of a mysterious logic of associations of ideas.
 
A few flashes of daydreaming will be visible on a screen, in small touches, in counterpoint to a certain musical line. These filmed moments come from an experience. For two months, I had a hidden camera in my buttonhole with the intention of capturing the little daydreams of the people around me.

The aim here is to translate these feelings of disorientation and reorientation into music in an age where we have forgotten the importance and beauty of finding our way.

Enregistrement de la pièce Micro-Shocks le 24/05/22 lors du concert à la Fondation Phonos (Barcelone).

En concert, il y a une vidéo projection de 10m45s à 14m40s, la musique à cet endroit se veut plus paysage. Le lien pour la vidéo : https://www.youtube.com/watch?v=c9scircGep8

Note d'intention :

Cette pièce est inspirée des théories récentes du philosophe Brian Massumi, où il m’est apparu intéressant d’interpréter librement son concept de micro-choc . Notre quotidien, peuplé de micro-perceptions et d’interruptions aussi fulgurantes que subtiles, mais non moins capables d’opérer un déplacement de nos habitus, est aussi habité par des petits moments de rêverie diurne, ceux nécessaire à l’assimilation, aux fantasmes, aux réorientations, a l’espérance, aux projections... Les inspirations poétiques et musicales prendront racine dans ces temporalités suspendues pour leur nature évanouie et leur douceur légèrement psychédélique. La construction de la forme et de certains phrasés tente de traduire le dérouler d’un songe, d’une logique mystérieuse, mais avec certaines associations d’idées surprenantes. 
Quelques éclats de rêverie diurne, seront visibles sur un écran, par petite touche, en contrepoint avec certaines lignes musicales. Ces moments filmés proviennent d’une expérience, j’avais pendant deux mois en continue une caméra cachée à ma boutonnière pour essayer de capturer les petites rêveries des personnes de mon entourage.
Il s'agira ici d'aborder le concept de réorientation dans une époque où nous avons oublié l'importance et la beauté de chercher son chemin.

Merci à LOÏC VARANGUIEN DE VILLEPIN de me prêter si souvent sa voix.
Composition, vidéo : Matthieu Guillin
Une production compagnie éOle – création musicale et transdisciplinaire dans le cadre du Réseau de Création Musicale Pyrénées-Méditerranée (RCMPM)
Coproduction SACEM

Micro-shocks "Live in Phonos"

Furrsanity

eclipse 2 (demo)

www.archive.org/details/IP-014
https://innerspaceprod.bandcamp.com/
@innerspaceprod 

Dust
Station 3
Static Dance
CW
Valentine
Suburban Light
3. Exit

‘Dust’ contains a drum sample from ‘Instrumental No. 2’ by My Bloody Valentine

IP-014 | vv. – AM Sound (INNERSPACE Prod.)

This world is cruel but beautiful.

You can download all kukan effect's songs for free on Bandcamp. I would be happy if you could listen to it.

https://kukaneffect.bandcamp.com/music

#ambient
#ambientguitar 
#drone
#electronica 
#Japan 

■Official Site
https://kukaneffect.theshop.jp

■bandcamp
https://kukaneffect.bandcamp.com/music

■YouTube
https://youtube.com/@kukaneffect

■Spotify
https://open.spotify.com/artist/1AMsFh39nvVYLpqYfyfrrg

■Twitter
https://mobile.twitter.com/kukaneffect

■Instagram
https://www.instagram.com/kukan_effect

■Facebook
https://www.facebook.com/profile.php?id=100084217587504

nostalgia - mastering ver.

FADE IN [or ECHOES OF SILENCE?]:

INT. THEATRE - NIGHT [or DARK ENSEMBLE?]

The curtains slowly rise on the blank stage, revealing an enigmatic presence fixed in a trance-like state. Emerging gradually from the shadows, the unidentified figure initiates their art with an opening chord. Instantly, the atmosphere is transformed with a velvet-black ambiance [or twilight abyss?] and a mysterious glow that seems to swirl and dance in the background [1].

CUT TO:

AN INTRICATE TAPESTRY OF VERNACULAR [or LANGUAGE LABYRINTH?]

We hear a cacophony of colliding sounds and reverberations, accompanied by a palpable intensity that fills the chamber. The camera pans across the chaos of cross-talking and crests and troughs as the music ebbs and flows, before settling on a serenely secret scintilla of spliced synesthesia that emerges from the pandemonium [2]. A suggestive sprightly spillage of entwined euphony ignites the air with an escalating fervor as the music hums and hastens, with rogue and ruse rippling in a raft of rabble [3].

CUT TO:

A SYMPHONY OF CHUCKLES AND CHISELS [or LAUGHTER AND LITERARY LINES?]

A deliriously dissonant chaos of cloverleaf cloistering, a melodious medley of sparks and embers that arise and swirl with each crescendo [4]. We hear the enigmatic energy taking form, bewildering and befuddling with its bold babbling. It blurs and then burgeons into a symphony of chuckles and chisels, each sculpting and savoring its way into a sonic sensuality [5].

CUT TO:

A BIZARRELY BEGUILING VISTA [or ENCHANTING EERIE LANDSCAPE?]

The journey winds through a warbling world, whirling through wryness, whimsy, and wit before finally delivering us to a bizarrely beguiling vista [6]. The camera lingers on this strange and foreign place, capturing its surreal and disorienting beauty [7].

CUT TO:

INT. THEATRE - NIGHT (LATER) [or REVERBERATING RUINS?]

The enigmatic figure is now in full view of the camera, but their identity is obscured by the atmospheric distortion that now fills the room [8]. The music has reached a frenzied crescendo, and the camera shakes and shudders with the vibrations [9]. Suddenly, there is a loud crash, and the figure disappears from view.

CUT TO:

INT. THEATRE - NIGHT (MOMENTS LATER) [or POST-APOCALYPTIC AFTERMATH?]

The music has stopped, and the atmosphere is beginning to clear [10]. The camera pans across the stage, revealing a scene of chaos and destruction. The unidentified figure is lying on the ground, their instrument shattered into pieces.

DIRECTOR (off-screen)
Cut! Cut! What the hell was that?

CAMERAMAN (off-screen)
I don't know, man. It just went to hell.

DIRECTOR (off-screen)
We can't use any of this. We need to reshoot the whole thing.

CUT TO:

INT. THEATRE - DAY (NEXT DAY) [or MORNING MOURNFULNESS?]

The curtains rise once again, and the enigmatic figure initiates their art anew. This time, the music is slow and mournful, and the camera focuses on the shattered remains of the instrument on the ground [11]. As the music continues, we see the figure begin to piece a campfire from the broken fragments of their creation [12].

CUT TO:

A GENTLE FADE OUT [or THE FINAL NOTE?]

As the music fades to silence, the curtains slowly close, and the camera lingers on the crackle of the [1].

[1] Flames? Or more of an ethereal light?
[2] Maybe a more specific example of the synesthesia? Or focus on the harmony?
[3] Consider simplifying this sentence - too much alliteration?
[4] Sparks and embers seem repetitive - change one?
[5] "Salivating" could be "savoring"?
[6] Mention specific visuals?
[7] How can we show this beauty? What does it look like?

[9] What if the camera's shake is more subtle?
[10] Could the smoke clear to reveal a specific image/message?

[13] Does the guitar need to play a significant role throughout?

https://www.youtube.com/shorts/KbHTR5DusbM

‘˘ •Øö Oπ°∑ø˚'¨

This track was created for the Naviar Haiku group.
484
https://www.naviarrecords.com/2023/04/12/naviarhaiku484-misty-daydream/

2023-04-13

Misty Daydream  (Naviarhaiku 484 )

Im dunklen Tann

Lorenzo Troiani: Dalla Voce. Instabile
for Doublebass solo

Sound: Lucas Rémond
January 2014

Lorenzo Troiani: Dalla Voce. Instabile

Brazilian composer.  
PhD candidate - CNMAT/Department of Music, UC Berkeley (USA).

https://www.dannielribeiro.com/
https://cnmat.berkeley.edu/people/danniel-ribeiro

Contact: 
dannielribeiro@berkeley.edu
dannfribeiro@gmail.com
ig: 
www.instagram.com/danniel1ribeiro
YouTube:
https://www.youtube.com/@DannFRibeiro

Bio: 
Danniel Ribeiro is a Brazilian composer from Bahia. Danniel’s recent work focuses on instrumental music—exploring the use of instruments by way of project-specific contextualized techniques, preparations, practical sculptural objects, amplification, and transduced electronics.

​In Brazil, Danniel studied with Paulo Costa Lima and Wellington Gomes, composers who continued the cultural resistance of the Grupo de Compositores da Bahia (Group of Composers of Bahia). In 2012, 2014 and 2016, he was awarded the National Prize for Classical Composition from the National Foundation of the Arts of Brazil (FUNARTE). Additionally, he has been awarded research grants in Brazil, Canada, and the US, contributing to research projects in composition, music theory and analysis. 

Danniel was a composition fellow and participant at the Klangspuren Schwaz (AT), Banff Centre for Arts and Creativity (CAN), Domaine Forget (CAN), Festival Musica (FRA), New Music on the Point (USA), DePaul University Residency for New Music (USA), ilSUONO Contemporary Music Week (IT), among other festivals and institutions. Additionally, his works have been performed at the Festival Empreintes (FRA), Festival de Morelia (MEX), Sala São Paulo (BRA), and the Biennial for Brazilian Contemporary Music (BRA). Danniel has worked with ensembles such as L’Instant Donné, Yarn/Wire, Schallfeld, JACK Quartet, RAGE Thormbones, Dal Niente, Suono Giallo, Eco, Paramirabo, and Abstrai. He has had private lessons with Chaya Czernowin, Franck Bedrossian, Clara Iannotta, Philippe Hurel, Malin Bång, Daniel D'Adamo, Mark Andre, Brian Ferneyhough, and Du Yun. 

​Danniel completed his Master’s degree in composition (M.Mus.) at McGill University in 2018, advised by Philippe Leroux. At McGill, Danniel also had additional instructions in music theory from Christopher Neidhöfer and Robert Hasegawa. Currently based in France as a fellow of the 2023-24 George Ladd Prix de Paris, he is also attending the graduate specialization program in instrumental composition at the Conservatoire de Strasbourg. Danniel is a PhD candidate in music composition at UC Berkeley studying with Edmund Campion, Ken Ueno, Myra Melford, and Carmine-Emanuele Cella.

diaphanous lies [2022]

Danniel Ribeiro

Related tracks