Ambient Experimental Classical Ensemble

 Live opus neo 1 couvent carmes ( janv 2013 )

Extrait song of the fisherwomen (Gurdjieff-De Hartman)

Gastón Muñoz and Adrián Juárez are Nadador Nocturno.


www.facebook.com/NadadorNocturno


Nadador Nocturno - Siempre

USA, Arizona - A windmill is squeaking alone in the desert

Sound recorded by a MS setup Schoeps Microphone CMC6MK41+CMC6MK8
Cooper mixer + Zoom H4n recorder
MS is encoded in STEREO Left-Right
recorded en 2009
Same sound on Freesound: http://www.freesound.org/people/felix.blume/sounds/131924/

more sounds on http://www.felixblume.com

A windmill is squeaking alone in the desert (USA, Arizona)

"Standing Silver in Deep Rivers" is the first installment of the 2-tracks project “Alabaster”, by Colorado-based artist HÉRISSÉ. A soothing, yet rough and harsh drone track, featuring eerie vocals and noisy sound design, embracing the composition of the song.

As the second and final installment of the project, "Blood Cross" shares a strangely blissful atmosphere, with a melancholic aspect on the sound palette. Powerful and cathartic vocals add an antithesis between the rest of the elements, enduring a stronger bond of feelings that creates while listening to the progression of the drones.

Artwork, Written & Mixed by HÉRISSÉ
Mastered by Ioannis Nafpliotis.

Buy / Stream

Werner Levant - Blood Cross

heat in waves ̶
in the stones
angry reverberations

Katō Kyōtai was a poet from Nagoya who entered the world of haikai in 1759. His work shares with Buson a careful observation, not just of nature itself, but also of the complex emotions and reactions that characterize human existence.


To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Heat In Waves (naviarhaiku541)

want to be absorbed

Rec - 23.11.06 - 00h30m15s

For this one, I chose to use no reverb.

The Assignment: Stop doing something you always do.

Step 1: Thinks of things you consider unbreakable rules when you make music. Maybe you never use a vocal, or you always use a click track, or you never remake earlier work, or you always use a specific instrument. The longer you think about these rules, the more you’ll unearth rules that you hadn’t even recognized as rules before.

Step 2: Make a list of the self-imposed rules you came up with in Step 1.

Step 3: Choose one rule from Step 2 and record a track in which you break that rule.

More on the 653rd weekly Disquiet Junto project, Break a Rule — The Assignment: Stop doing something you always do — at https://disquiet.com/0653/

habit of a lifetime [disquiet0653]

Unyet

from the album 'On Leaving' on Touch, UK (TO124)

dedicated to Steve Roden (1964-2023)

For over a quarter of a century, sound artist and composer Richard Chartier has interrogated an ever deepening thread of minimalist sound that meshes questions of stasis, pulse and timbre. The results of this work is some of the most quietly intense compositions of this century. His is a music of subtle variation, unwavering concentration, and also patience. This five part work created between 2020 and 2022 is dedicated to his friend and fellow sound artist Steve Roden.

"I first became friends with Steve Roden (and later his wife, Sari) back in 1998 when my first album 'direct.incidental.consequential' was released. He was one of the first group of artists to whom I sent the album. Almost instantly he had been there on the other side of the phone (or email) and ever since.

His way of listening and attention to details (no matter how small) was inspirational — the clarity and complexity of his understated and only seemingly simple compositions, engaging. Underneath it all, 'the less’ truly opened your ears to 'the more.' Steve saw and heard everything between the noise, no matter how faint.

Some of the last times I was able to see Steve were right before the pandemic. The effects of his advancing Alzheimers were present, still somewhat subtle, but increasing. I am still regretful that we were unable to spend more time together prior to his succumbing to his condition’s cruel effects. Another regret is not engaging in the collaboration we had both talked about for YEARS. 'We should really start on that sometime soon' Steve and I would say with each passing year.

I worked on the compositions included on this album as Steve gradually slipped away from communication. He was not in my life like he had been before. During this time it became apparent that these pieces were for Steve. A reflection of his ability to find beauty in the most minute details. Even when finally reviewing the final masters after his passing, I tried to think about how Steve would listen.

What would Steve hear in the details? His effect on this album is strong... the accumulation of influence and inspiration. This album feels organic and warm and was developed during a time when his absence in my life increased. That warmth is reflective of the nature of who Steve was himself, his friendship, and his visual & sound work.

on listening... on loss... on leaving...

As Steve and I mutually suggested... for quiet amplification or headphone listening.

On Leaving

Variance.1

SenSen - Formiga

An unedited take, long after midnight, during a night of strong winds and sporadic rain: before, during, and after a brief shower of rain on a brushed galvanised iron sculpture of flowers beside a railway station. The background drone resonance in the iron is produced by the action of the wind. Recorded with a pair of Geophons into a MixPre-6.

Sculpture by Rick Clise (2015), 'Elemental'.

2024.07.20 Indigo Rain on Galvanised Iron Flowers

Gurdjieff - Oriental Suite - Tempo di Valse

 recorded in Christchurch New Zealand in April 2012

Ritual No.1 with Reuben Derrrick

This is one of 3 tracks that were made solely by using the analogue synthesizer EMS Synthi 100. For each track, there was a single patch and the material was recorded live in one go. Rhythmical synchronization of the material was done by using the Synthi's sequencer. Simple live manipulations included putting a pin or two in and out and switching on and off the mixer channels. Additional panning of each individual channel was done on a computer. These tracks demonstrate the effect of extremely simplified musical material produced by using the not-so-simple sound tool (for the reference, try figuring out and programming a Synthi 100 sequencer:)). Tracks are named by the number of sequencer steps used in that piece. Recorded live at Electronic Studio - Radio Belgrade.

2019

From the album STEPS: https://svetlanamaras.bandcamp.com/album/steps

Svetlana Maraš©All rights reserved
©SOKOJ

Born

Félix Blume is a sound artist and sound engineer. 
His work is focused on listening, it invites us to live sonic experiences that enable a different perception of the surrounding. He uses sound as a basic material in sound pieces, videos, actions and installations. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words.

A windmill is squeaking alone in the desert (USA, Arizona)

felixblume

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