Very dope use of founds sounds.  Like the industial feel of this a lot.

Really like the rhythms you've created here - nice choice of sounds too!

Sounds great. I just wish it didn't have the reverb and such so I could use it this week. Nice work.

Finalist piece in the competition announced by the Collegium Musicum of Bolzano, Un “divertimento” per la convivenza.
Recording of the Duo Z, Johanna Zetterqvist - flute
Joakim Zetterqvist - violin

Based on the poem by U. Saba "Quasi una moralità".

Espressivo [II mov. of "Quasi un divertimento"] for flute and violin

This is the 2021 home studio production of my main composition, Forever Long, and is the 8/28/21 mix.  It's designed like modern music, but is intended to be more orchestral, I refer to it as "hybrid-orchestral".  I made this because I thought that this composition deserved a brand new production, better than the original, this was performed without metronome, unlike the original.  This performance is mostly synthesizer (made with a 2001 Korg Karma which is a specialized Triton), but also prominently features me playing the large 4-manual, 80-rank Austin pipe organ at Christ Church of Oak Brook in Illinois, starting at the end of the Interlude.  The pipe organ was mainly added for multiple harmonic elevations, and an alternative to the effect of distorted electric guitars, the harmonic effect of reeds is very similar to guitars.  That instrument has a number of digital stops, for this performance I'm only using real acoustic pipework, the section with reeds prominently features the loud and bright 8' Bombarde on the Great.
Specifications and photos of the instrument used:
https://ryan.thoryk.com/organs/ccob_spec.html

This version is the "organ rendition" performed on synth and organ.  If you want to hear the original, a remix of it is available as the "Foundation Piano Remix", and sounds very different from this:
https://soundcloud.com/eventhorizon5/forever-long-foundation-piano-remix-3-synthesizer

This piece was originally written as a partial chorus around 1994/1995, the body of it was written in 2000/2001, the Interlude section in 2003, and the Organ Rendition in 2013.  The Overture section was originally a separate piece written in early 2015, but was added to this that year.  This performance is also the first time I've played with multiple harps playing primarily harmonics, the recording contains a harp ensemble.  The Interlude section, which is right after the Main Chorus, was very heavily influenced by music of the label Windham Hill.  The main parts of the production were intended to sound somewhat similar to the Israeli group Zemer Levav.

Multitrack audio recording and production was done with the software Ardour running on Debian Linux.  Mastering was done using Audacity.  Recording was done in late May/early June 2021.

The short "Premonition" section at the beginning plays the Main Theme from the chorus, this theme is also called Rebecca's Theme.  Rebecca is a friend of mine who I've done music production with, the music is intended to be for her.  The section is a tribute to a young flutist named Katrina, who was the primary inspiration for the original chorus in 1995.

This composition doesn't have lyrics, but it was intended to have them eventually, the melodies (especially chorus melodies) were carefully designed  for a female voice.

Section list:

Suspended
Premonition (of Main Theme), key of D
Introduction (start of suite)
Overture, key change to G
Forever Long Intro, key change back to D
Intro Chorus
Transition
Verse
Bridge
Main Chorus
Interlude (3-stanza polymorphic)
Interlude Resolve (from organ rendition)
Chorus Bridge (ends in Modulation to key of E)
Grand Chorus, key of E
Grand Chorus - Scream/Climax
Finale (Modulation back to key of D)
Glimpse

Here's the pipe organ solo version:
https://soundcloud.com/eventhorizon5/forever-long-pipe-organ-st-johns-choir-loft-6-1-15
and also grand piano:
https://soundcloud.com/eventhorizon5/forever-long-grand-piano

Forever Long 2021

as something real

Artist: Björn Torwellen
Title: 10.000 Black Seeds Remixes
Remix Artists: d_func. / Denise Rabe / Kølpøs / Lakej / Oxygeno / PWCCA / LXbeat / Kike Pravda / Orbe / Oliver Rosemann / Marc Faenger / Michel Lauriola / Krystian Libke
Format: 3x12"-Vinyl & Digital Format
Label: Nachtstrom Schallplatten
Cat.-No.: NST197
Releasedate: 22.11.2024
Shop-Link: nachtstromschallplatten.bandcamp.com

[NST197] Björn Torwellen - 10.000 Black Seeds Remixes (3x12")

Raw Techno DJ SET

This track is a study on the juxtaposition of irregular rhythmic patterns created by using five small sound objects as percussive elements. Three of the sound objects have been taken from fragments of field recordings done in the London Underground, the other two correspond to pre-existing recordings of the vibrations of a knife on a ceramic plate.

I chose the sound objects based on their percussive interest, and built an Ableton Live's Drum Rack instrument with them in order to create the three basic MIDI clips of different lengths on which the track is built.

After the initial capture of the MIDI performance, I added some effects: reverb, delay, panning, ping pong delays, and some compression. The effects are switched off at the beginning of the track, and they build up progressively until the final section, in which the effect channels are mutually fed back to the point of self oscillation.


More on this 215th weekly Disquiet Junto project (“The Assignment: Make a short track with just pin-prick audio”) at:

http://disquiet.com/0215

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is by Philippa Willitts, used thanks to a Creative Commons license:

https://flic.kr/p/4L37Fm

On tiny sounds and irregular rhythm patterns (disquiet0215-tinyrhythms)

from the second book of Pièces de Viole. (1701)

Les voix humaines- Marin Marais

A recording I made in a few spare hours on Monday 4th November 2019. It's by no means perfect, but I don't believe there are any other recordings of this piece around, so someone may find it useful.
  
*Not having a string quartet to hand the string parts are realised as generated tones.

Alvin Lucier - Serenade for Oboe and Strings* (1995)

echo "g(i,x,t,o){return((3&x&(i*((3&i>>16?\"BY}6YB6%\":\"Qj}6jQ6%\")[t%8]+51)>>o))&lt;&lt;4);};main(i,n,s){for(i=0;;i++)putchar(g(i,1,n=i>>14,12)+g(i,s=i>>17,n^i>>13,10)+g(i,s/3,n+((i>>11)%3),10)+g(i,s/5,8+n-((i>>10)%3),9));}"|gcc -xc -&&./a.out|aplay

Bitshift Variations in C Minor

A dark bleepy, bloopy, cut up, glitchy Chip Hop track made with an original Gameboy and a PO-33 K.O.

Scheme Dream in Bleepsville

Lidia Riego López (voz y letra)
Pilar Cañas Martínez (producción y coros)
Nacho Felipe Rode (guitarra)

Esta canción la hicimos de calentada una mañana de diciembre, pensando en cómo nos sentíamos respecto a esta locura que nos ha tocado vivir. Unos días después la volvimos a hacer un poco mejor y ahora la tenéis aquí.

para nuestras amigas y para las vuestras ♥

Por Favor Que Vengan Mis Amigas Por Navidad

Developer, technologist, classically trained amateur musician. Love the intersections between early and baroque music and contemporary drone / minimal and electronic music. None of the above. Check out my Bandcamp page as well.

On tiny sounds and irregular rhythm patterns (disquiet0215-tinyrhythms)

Alice Wyan

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