grischenka This is, in my view, the most wonderful combination I've ever heard.

Quelle Beauté ...! ...aber...dear...😞 es tut mir so leid 💔😓 xox

fascinating melancholic dreamy piece, great work

DAVID GRANSTRÖM, Empty Room - LP

Release date - April 2th 2021
Catalogue nr. - HG2102
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Obsidian 09:22
2) Aeon 10:56
3) Sapphire Visions 04:50
4) Occultations 10:08
5) Transience 04:45

Credits:
All tracks composed, recorded, performed and mixed by David Granström 
Mastered by Giuseppe Ielasi
Photography by Aron Mattsson
Cover design by Greenpointless

///
On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. 

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other. 

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors. 

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

DAVID GRANSTRÖM - Occultations (HG2102)

Taken from the album 'Suisse Redux' released as LP and Digital

François J. Bonnet & Stephen F. O'Malley 'assembled by Jim O'Rourke (excerpt)' (EMEGO 298)

Эксперимент Дуб2

A woman moves back to her rural home town in Manitoba where her brother Modeste has been raising the woman's daughter with his wife.

Ste. Anne (Original Soundtrack) released October 1, 2021.

Side A- Ste. Anne Original Soundtrack by B.P., Andy Rudolph & Kelsey Braun
Side B- Ste. Anne Original Soundtrack loops by B.P.

@bretparenteau @makadestar

Purchase: https://makadestar.bandcamp.com/album/ste-anne-original-soundtrack

Format: Cassette & Digital
Info and trailer here: www.imdb.com/title/tt14091768/
More info: www.facebook.com/ste.anne.film.2021

Support the artist

Premiere - B.P. & Andy Rudolph - Ste Anne

Matt Evans - Percussion
Henry Fraser - Double Bass
Lucia Stavros - Harp
Lester St. Louis - Cello 

Composition + electronics by Lea Bertucci, 2021

Of Shadow And Substance (Excerpt)

From the album EVICTED IN THE MORNING [DISC19] disciples.ffm.to/evictedinthemorning

A unique dialogue between the electronic textures of brothers Mohammad and Mehdi Mehrabani-Yeganeh with the live drums of Jason Nazary (Anteloper).

Cover painting by Parham Ghalamdar

Saint Abdullah & Jason Nazary - Mirror Of Infinity (ft. NAPPYNAPPA)

time to say goodbye to an old friend. i was just about to start my way to hamburg for a dance production at kampnagel when i found my car plundered. most of my tools, a cello, some mics, some cables and clothes (!) where stolen, nothing of incredible value. but what hurt me realy is the loss of the guitar that accompanied me since i'm 14 or 15 years old. no one will be able to use it, i think. the neck is twisted by ages playing it only with 5 strings, the output and the pickup slider crackle like hell, if you are not carefull. and if the thief would know that the brown sprinkled dust under the strings between the pickups is years old dry blood, from when i used to play until my fingers bleed, they wouldn't even dare to touch it i guess.

anyway, i had so many lovely moments with you, from distorting feedback sessions, looking out into the forest in steinhagen, to some rare moments of openness with farina and flo in bielefeld quelle, to some dear sessions with stefan and johannes in berlin, to (finally then) some lovely intimate moments in jüterbog - which are captured in the recording i wanted to share.

anyways, no need for thief-hate or materialistic worries - i have another guitar i also love. it's just the wooden coloured lag, the time and such... hope you are all going well into autumn.

0921 14 Re 0821 22 Git Juet 2b

Available now via: IMPREC.com

The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes.

If Oliveros had followed a more conventional composer's path she may have, all social obstacles aside, been considered among the major minimalist and contemporary classical composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an inclusive and interdependent and unfolding world of relationships."

Oliveros' propensity towards inclusion is part of what makes this work so remarkably distinctive. The Well & The Gentle is carefully crafted, allowing performers to participate in the creation of the work. Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers "pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously."

Unlike most major composers of the era, Oliveros' work focuses on collaboration and improvisation. Lacking in the rigidity that often defines minimalist work of the era. For Oliveros, the processes involved in making music are as fundamental as the music itself. Oliveros creates, as Arthur Sabatini put it so eloquently in the liner notes,

"A world in which sound and the practices entailed in making music merge; become, at once, source and atmosphere, energy and essence, presence and dynamic."

Pauline Oliveros "The Well & The Gentle" - 2LP - Release Date 3.10.23

"Quand donc pour moi brillera le soleil?"

†ॐ

Music improvised and performed by Thomas O'Higgins Horna
Produced at Kolima Forest Studios
Cover art by Fairchild Archive/Penske Media
Edited by me.

To Francoise Hardy, merci beaucoup.

Softly

Music inspired by Raaijmakers' electronic music from the 1960s, and his writings on sound composition, particularly "Cahier M: A Brief Morphology of Electric Sound".

TA: Serge Modular feedback & sine/pulse generators, contact microphone.

Two short excerpts from a longer piece.

Please use speakers, not headphones, because of the inner-ear phenomena involved.

Homage to Dick Raaijmakers (excerpt 1)

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

0921 14 Re 0821 22 Git Juet 2b

grischenka

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