Name: CRUSH by DHANGSHA
Duration: 2 min 58 s
Description: First Crush - Dhangsha lets loose with an Ottobit bitcrusher and Acidbox filter. Near noise saturation without totally relinquishing the rhythm. Bass and Noise are NOT at odds with each other - you can express simultaneously on all frequencies.

Steel tongue drum and bass drum and bongo.
No overdub.
Thanks for listening!
New album 'HEAVENS' on 24th April.

High in the Cave's new album '１×１＝∞' on Bandcamp from today!!

Beautiful Side Of Life

SO IT

Ce portrait est l’histoire d’un homme 
Qui grimpe dans les arbres
Et un arbre, c’est aussi un corps.

Un documentaire de Clara Alloing et Adrien Chevrier 
Production : Ciné-Doc

Le vent souffle où il veut

02 - Myco1

Lemodine

First Crush - Dhangsha lets loose with an Ottobit bitcrusher and Acidbox filter. Near noise saturation without totally relinquishing the rhythm. Bass and Noise are NOT at odds with each other - you can express simultaneously on all frequencies.

CRUSH

I've got the Waldorf M in for a few weeks to try out and just making some Test Patches.  No EQ or processing, however I do use 2 FX Plug-Ins, both are free (Bluecat's Chorus & Valhalla Supermassive)

1.  Ice & Fire GEO 
2.  Funk Bass GEO
3.  Saw Leader GEO
4.  Hollow Bass GEO
5.  Pitch In Time GEO
6.  Warmer Shores GEO
7.  Widgets GEO
8.  EP Sync GEO

Waldorf M - 8 Test Patches

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

To begin 2023 rather mysteriously, two generative patches overlaid on top of each other, objectively random but subjectively giving the illusion of a dialogue.

GRM Development Diary 8

Alexandra Spence – “Do jellyfish breathe?”

A reworked version of this piece has been released as the album 'a veil, the sea' as a cassette tape or download on the Mappa label. You can purchase a copy here:

https://mappa.bandcamp.com/album/a-veil-the-sea

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

…Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

“… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

*Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

Alexandra Spence - Do Jellyfish Breathe (excerpt)

"Mesh" (2022-2023) for ensemble and live-electronics, here live-performed by the Nadar Ensemble at the Concertgebouw Brugge on 26.3.2023 (Yves Goemaere, perc & live-electronics; Dries Tack, bass clarinet and live-electronics; Thomas Moore, trombone & euphonium; Nico Couck, e-guitar+FX; Pieter Matthynssens, cello; Stefan Prins, live-electronics, Wannes Gonnissen, sound engineer).

Additional samples from Rainforests in Borneo and the Amazon recorded by David Monacchi for "Fragments of Extinction".

Commissioned by Nadar Ensemble & Concertgebouw Brugge. Supported by the Flemish Community.

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

Even though "Mesh" can be performed as a stand-alone composition, it was premiered as part of the evening-length project "Der Wanderer 2.0" which I developed together with the Nadar Ensemble in 2023. In the version presented in the context of this project, the audience is wearing headphones on which part of the soundtrack and amplification is played back, while other parts of the soundtrack and amplification are heard through the loud speakers on stage. This splitting allowed for an extensive manipulation of sonic depth, nearness, distance, foreground, background, blanketing and uncovering. The audience was encouraged to play with the headphones, taking them on and off freely, listening to only one ear, etc., creating their own listening experience.
Of course none of this can be replicatd on this live-recording, in which the soundtrack is rendered to stereo.

Mesh (Stefan Prins, 2022-2023)

Track composed for a 16 channel diffusion system, using ambisonic within my maxmsp composition/peformance system: https://cycling74.com/projects/noxin-music-system
This is a stereo reduction of a 16 channel recording.

16 channel algo dub

Dhangsha (Bengali for ‘destruction’) is an electronic musician engaged in disruption at the interface of bass music and experimental noise. Using the principles of minimalism, repetition and fragmentation, he creates spartan but heavy beats, punctuated by African clave accents and alien synth motifs hijacked from Detroit. Various distortions impel each track towards a sense of impending collapse. As well as a clutch of self released albums including "Live at Spirit of Gravity," he released "Aberrant" on label Hard Return and has contributed to compilations for Syrphe, Avon Terror Corps, Tusk Editions, Iklectik, Industrial Coast and the vinyl "Disruptive Frequencies" on Nonclassical, very favourably reviewed in The Wire (Aug 2023). He has played at Bogotrax in Colombia, as well touring throughout the UK and Europe with electronic/rap duo Yao Bobby and Simon Grab. He is performing at Supernormal in August 2024 and is set to release a cassette on Brachliegen Tapes in the near future. 

https://nonclassical.bandcamp.com/album/disruptive-frequencies

https://hardreturn.bandcamp.com/album/aberrant

https://dhangsha.bandcamp.com/album/live-at-spirit-of-gravity

https://www.youtube.com/watch?v=WCDYKMBn_g0

CRUSH

DHANGSHA

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