It was 1995, I had already acquired my trusty Alesis SR-16 "Dr No" but not hooked it up in stereo yet on my 4-track cassette recorder.

This track is one of the more fun I made in those days, thought I'd share it here. For the occasion, I properly mixed and mastered it in such a way to keep it's original character intact as much as possible. I did put *some* fancy effect to stereoize the vocals a little, and there is a subtle stereo reverb on the drums.. Things like that, but that's just to make it palatable for the modern crowd. This is after all an original recording, no edits, no overdubs.

Thinking about putting an entire 'legacies' album together. Would anyone be interested in that?

The very mature lyrics:

Salvation song
Connect me if I'm wrong
Me I am cracked, broken and torn
Haven't been clean ever since I was born

But I don't bear much pain
I'm not gonna jump no train
Every single hour every single day
Guess life is just a game

Some say I am insane
Some say I am just the same
As all them youth rebel rabble rebel rabble
Well I know better but you won't hear me tell
Everyone lives his own little hell
Let them turn around in their own smell
I let them feel bad if they let me feel well
It be alright with me

I know I only live to be
I know this is all you can see
I live to be just like the trees
And the flowers and the bees

Some say I am insane
Some say I am just the same
As all them you rebel rabble rebel rabble
Let live through their own hell
Let them live with their own smell

Salvation

Salvation song
Connect me if I'm wrong
Me I am cracked broken and torn
Haven't been clean ever since I was born

Some say salvation
Everyone, everyone...
Rebel rabble rebel rabble
Loser! Loser!

noitavlaS

Salvation Song

20 11

Method: The poem came first. The collaboration with Vazcoatls (https://soundcloud.com/vazcoatls) came second. Now listen to a brand new audioverse .... Vazcoatls, it's a real pleasure to feel your sonic presence in every second of this.
Narration: The poem acknowledges some of the extreme, existential and intense performances by Marina Abramovich and Ulay. https://mai.art/
Image: Based on two photos and quite some GIMPing by JR.



Poem / copyright jo richter
(as published in Tiny Inclusions, in: Auslegpapier):

This is her partner. With rest
energy, he holds the bowstring,
the arrow about to speed
forward, right into her chest.

A single movement would make
all the difference a difference
can make. She watches him
breathing, breathing slowly herself.

This breath does not belong to her.
They have shared up all the oxygen
between them before. This is his
breath, as well, that keeps her alive.
Noone can enter the room without
squeezing through their only nostril.

rest energy (vazcoatls & sonic structures and silent stretches)

a slow, creepy piece improvised on the Korg Volca Modular, coupled with   audio from an old 78 record about achieving a relaxed mind and body through the power of suggestion. Enjoy!

Phantom Oscillator - The Power Of Suggestion

IG track (2023) created in collaboration with Humanfobia..
https://soundcloud.com/humanfobia

Complete version (Act I + II) will be released on the Lago Del Terror compilation album curated by Humanfobia

Lago del Terror (Act I) feat. Humanfobia

Crumpled Pages

Little Outtake of a recording-jam with Dr. Nojoke in 2012. He mixed it with his Ableton. 
https://soundcloud.com/dr-nojoke
http://www.linktr.ee/Dr.Nojoke

Transformation / coop with Dr.Nojoke

Marco Lucchi : piano
Wilfried Hanrath : synthesizer

settembre 2023

Marco Lucchi & Wilfried Hanrath - Poppies

Ink in Water

The conventional wisdom holds that chance operations abolish "glue" (Henry Cowell's term, but often invoked by Cage).  That idea rests on presuming that statistical independence governs how  the operations place musical events within the music framework.  Well, not here.

As x and y coordinatize the Euclidean plane, time and pitch coordinatize musical space as constructed say on a piano roll.  But there's a difference: the plane enjoys rotational symmetry, but its far from clear how one would even compare the magnitude of a time duration with musical interval.

Take a circle and randomly choose 41 chords (meaning, sorry, line segments that connect two points on the circumference).  That makes 820 pairs of chords, but only above one third of the pairs will intersect (meaning, inside the circle).  Those roughly 270 points of intersection, plotted on a virtual piano roll, become the notes of a variation.  The piece consists of 10 variations.  Each note/point sits on two lines, so each line will contain an average of about 13 notes.  This is the emergent clue.  Depending on the slope of the line segment, it will sound as a chord, a broken chord, an arpeggio, a line slowly ascending or descending, or even a pedal tone.  Of course the points/notes on a line don't sit evenly spaced - their position gets determined by the random dispositions of the other chords.  But every note is overdetermined -- by design it sits on two lines and thus helps describe two different musical figures.

Empirically, the 88 note space of the piano (so 352 distinct pitches by the use of eighth-tones) feels like one minute.  Too much faster and the emergent shapes get compressed into illegibility, too much slower and the notes get unglued by the strain on short-term memory.

The accompanying graphic explores a similar construction, but in the visual realm.

Time-Space-Circle-Line-Point #7, for four pianos tuned in eighth tones

i loved to use this sample even if  others made it famous....

way to a star

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

Please don't spam this account!

Time-Space-Circle-Line-Point #7, for four pianos tuned in eighth tones

David Victor Feldman

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Patricia Emison

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