GRFTPS011
Ben Wheeler - Nowhere Patches 
limited edition cassette / digital - now on bandcamp
https://giraffetapes.bandcamp.com/album/nowhere-patches

Nowhere Patches

B2. Ben Wheeler - Triple Cap [GRFTPS011]

TR183 - Mamer - 'Improv 11'

TR130 - Julia Reidy - How to spot a rip [excerpt]

Prism Architecture

https://archive.org/details/IP-010
https://innerspaceprod.bandcamp.com/
https://soundcloud.com/innerspaceprod

It's Written In Huge Suburban Letters

From the new album - 'Sound Postcards from the Centre of the Periphery' by Manja Ristić and Mark Vernon.

We made this 13-track journey around the sounds and sonic histories of the island of Korčula. In addition to our own field recordings, we were given access to the audio archives of the local radio station, including recordings of folk customs, traditional songs, dances and music...

This album unites two specific sensibilities that for many years have been embedded in the domain of sound and radio arts. Although they arose from very different environments, their work explores similar issues around preserving personal sonic histories. By stirring up nostalgia and collective memory, both artists often refer to the importance of individual experiences in the poetic "body" of micro-communities. 

The artistic practice of both creators has been deeply immersed in the sonic strata of space and the imaginary narratives that emerge from it. A dedication to the culture of memory, the sounding of lost voices and an unorthodox approach to re-composing the soundscape, conveniently unites these two experimenters in a collaboration that arises from research into one particularly inspiring locality – the island of Korčula. 

In addition to their own field recordings the artists were given access to the audio archives of the local radio station, including sounds of local folk customs, traditional songs, festivities and music. The strong anthropological emphasis in this collection of works is intended to encourage a deeper consideration of the coexistence of people and the environment in a historically dense climate. The appropriation of the hidden narratives of a small town on the fringes of the European Union opens up new fields of reflection on identity that looks back at the "center of the periphery", pointing to the importance of "small" spaces in the creation of European heritage. 

‘Sound postcards from the center of the periphery’ will be stored permanently in the audio archives of Radio Korčula. Who knows, maybe someone will dig them out in 50 years and say: "...there you go! This will make your head ring!" 

Special thanks to Radio Korčula, Gordana Šuperak and Ivan Sardelic Šore. To Pere from the Marasa printing house and to all the fellow citizens of Korčula who found themselves on this album intentionally or accidentally.

Manja Ristić and Mark Vernon - Voli more drš’ se kraja / Love the Sea but Stay on the Shore

This is an audio mix of the 4 elements from my sound installation/sculpture "Il tempo insassato che pur scorre" from 2020.

Background sound is played through the floor monitors, stereo, and they are placed on your left and right as you enter the room. This sound fills up the space like the light and opens it up beyond the walls of the gallery space, implying a reverberant, large, empty room/hall. The sound is composed by layering the multitude of oscillators coming from the EMS Synthi 100, covering each part of the spectra. 
The sound played through the speakers in front (which are covered by the cloth), are scattered sonic artefacts in low and mid registers, that should appear to be almost tangible and "real", as if something is moving beneath the cloth.
Devices hanging on the left and right wall are winding and unwinding the tape. They are sonified from within the box by the ready-made loops that consist of material produced by sampling the working procedures of the reel-to-reel tape recorder.

Durations of the tracks in the installation, differ from the ones in this mix which is made as an audio preview.

Installation was premiered at the gallery Weisser Elephant on January 2020 in Berlin, alongside the works by Alva Noto,  Robert Lippok, Katharina Bevand, Cecile Dupaquier, Anne Gathmann, Harriet Gross and Elliane Radiue, to whom this event was dedicated, celebrating her work in electro-acoustic music and her birthday.

Download

Il tempo insassato che pur scorre (sound part)

Field recordings, cassettes, granular synthesis, one take, trying to give form to a childhood memory: Manitoba marshlands in late winter/early spring.

.:Oak Hammock 4:. (demo edit)

https://www.sinius.co.uk/music

As a child, his self-searching led him to his deep connection with music inspired significantly by the dark atmospheres of derelict locations in the UK. From the age of 16, Daljit Kundi signified his recordings of sinisteric sounds researching the dimensions of otherworldly aesthetics of sound-creation, experimenting with dark ambient music that cultivated his ritualistic visions, re-enactments of "mysterious and inexplicable” noises, travelling into the surreal landscapes using a recording device to capture sounds from abandoned locations and acknowledging the existence of the unknown.

Daljit Kundi has scored movies for directors: Sean Owen (Dark Territory), Steven T. Shippy (Haunted Saginaw), Stephen Cognetti (Hell House LLC), Connor Biddle (Paranormal Encounters), Atilla Kaldy (Moonlight Media) and composed the official theme song for Paranormal Encounters feat. Kirsty Hawkshaw. Since the inception Kundi has scored several documentaries and movies exploring the realms of the supernatural & paranormal.

SINIUS productions officially remixed by Akira Yamaoka composer of the Silent Hill franchise and supported by Joseph Bishara

(The Conjuring, Insidious, Annabelle, The Curse of La Llorona)

Listening To My Music

To get started, click Royalty Free Music in the menu above and select a category from the dark music database.

As well as buying my music from this site, you can also stream and purchase from the following sites below (although licenses and my royalty free music collections are only available here at https://SINIUS.CO.UK)

Who Can Use My Music?

My music is primarily aimed at film & TV professionals, production companies, trailer editors, game developers, documentary makers, producers, students and independent filmmakers looking for atmospheric music use in their films, documentaries and videos. But I’ve also heard from ‘non-industry’ people who just enjoy listening to atmospheric music, so if you like cinematic film soundtracks, dramatic trailer cues and dark textural soundscapes you can also just buy and download the music tracks for personal listening  (apart from the royalty free collections which are only available with a license attribution 4.0 international (CC BY 4.0) 

SINIUS productions | Spectral Emanations

Prism Architecture

Gaapiiiii

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