Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños Acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños Acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float.

All tracks composed, recorded and mixed by Clarice Calvo-Pinsolle in Brussels in 2024
With the voice of Hochiwah on Aqualines

www.claricecalvopinsolle.com
lalamina.bandcamp.com
www.instagram.com/laminalalamina/

Mastered by Adam Badí Donoval
abdonoval.com

Artwork and design by Fen ToucheMoulin
www.instagram.com/touche_moulin/

Words by Tristan Bath
Photography by Michaela Cagáňová

Released by mappa as MAP054 in 2024
licence
mappa.bandcamp.com  
credits
released November 4, 2024

Lamina - Creatura morada

jamming with my friend in Baires, i play drums, KA on max msp
released on CREWQ <3

https://www.ninaprotocol.com/releases/music-for-various-artists-works

yeko_2 (feat KA)

https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-1-8
   "The music from the club, spilled into the alley, thick and low, like the heartbeat of the city. We had danced for hours. Now outside, the sweat shimmered and reflected like halos in the streetlights.

    We walked, As the music echoed behind us.  

We walked by night
 
   Our footsteps sketching a new rhythm on the pavement. The world felt wide and waiting, the kind of night that became our soundtrack.

   We walk by night"

Spoken word by: Green.Washer
https://soundcloud.com/greenwasher

Wanting to explore some different production styles and build elements to blend. With the goal of producing something special for the Color Squad Records compilation. 

Created in multiple Logic project sessions. Sound design and Beat building session - bpm 124. Mix and arrangement session. Final assembly in Mastering session. Midi soft synths (Vital, UA Polymax, Surge XT, Logics Retro Synth). Live percussion elements. Break beats: Dedalus - CT6 & Hilton Felton - Be Bop Boogie. Granular Re-synthesis of melody/lead using "bandlab" Audio stretch app on phone. Sonosaurus PaulXStretch app for textures.

The main lead/melody loop was created many years ago, for a part of a remix of "Kill or be killed" for my indie rock band, at the time. "Further" 
https://www.discogs.com/artist/1765210-Further-4
A track we never released or published.  One of the lyrics in this song was "When we walk by night" (More to do with taking a dark path, rather than going to an after party) 

When the melody/lead was rediscovered while randomly going through files & folders looking/listening for some inspiration. The loop manifested a memory of going to clubs and the night life around 1990 in Sydney. Friends, the sounds, the drinks, the music and the walk/journey home. Ears ringing. Reliving the night. Feeling glorious. Being out in the night with friends. 

Writing a passage with this in mind. Green.Washer was generous with his time, to read through and record the "we walk by night" passage a few times via his phone. With limited info regarding its context or the music. He sent a few versions and they were edited into arrangement session. Thanks Green.Washer!
Tom Sine https://soundcloud.com/tom-sine has a contribution, with some very subtle/barely audible beats. And supporting guidance during the arrangement. When I got lost in the process...
A big thanks also to Spoutnik https://soundcloud.com/spoutnikz And the Squad!


I hope you enjoy

We Walk by Night

We Walk by Night

CSRComp018

Antichrist Rev Sect II

polygroove 1

Recorded February 2013, edited and mixed August 2025.

Keinluzt

https://mnlth.bandcamp.com/album/music-off-the-telly 

Dave Monolith - Music off the Telly - Good Friday

Remnants of Noise — Offret FW 25/26 Soundtrack
A limited edition 12” vinyl. Remnants of Noise by Igor Dyachenko reimagines Offret FW 25/26 as a sonic journey through memories and drifting echoes. Ghostly atmospheres and fleeting sounds intertwine, bridging humanity, nature, and architecture.

A:
01 – fragment 1 (3:56)
02 – inward (3:05)
03 – churning (3:08)
04 – fragment 2 (3:38)
05 – noise event (4:13)
B:
06 – after 7 pm (3:58)
07 – atm (4:39)
08 – street tone (5:40)
09 – glimpse (3:42)

Remnants of Noise

ROKU041 - Paul Abbott - "OFF STAGE—WALK (B)" from SLIP

Tot Morgen (Quiet Nights)

A quick test recording made from a series of samples taken from a gorgeous late 1960s Brüel & Kjær type 1024 "Sine-Random Generator" - an all tube based design that found its way into some of the most prestigious acoustics labs around the world and turns out to be a wonderful source of really quite haunting wobbly and warbly sine tones.

Recording Copyright D.A.Wilson, Hideaway Studio.

1960s Brüel & Kjaer type 1024: Random Sines

D.A.Wilson is an Electronic Engineer, Sound Designer & Vintage Synth Specialist with a particular interest in combining vintage tube, classic analog and modern digital technologies working as a synth engineer looking after a very considerable amount of vintage studio equipment for Will Gregory (Goldfrapp / Moog Ensemble) and a number of other internationally celebrated electronic musicians and producers.  Having undertaken several major restorations and produced custom electronic designs for a number of major artists including Jean-Michel Jarre, Dani is also known for fully restoring two out of the world's four remaining 1979 Crumar GDS and partially restoring 1938 Novachord 346 (the only known operational Novachord in the UK) to playable order along with developing and producing the new Elfin family of 8-bit polysynths and the popular MIDI Front Panel Animator (FPA), Filter Defeat Module (FDM) and XD-280 Drive Emulator upgrades for the AKAI S612 sampler.

Demos of the S612 Upgrades in Action: 

https://soundcloud.com/hideaway-studio/sets/hideaway-studios-s612-front


Hideaway Studio Kontakt Sound libraries may be purchased directly from: 
https://www.lootaudio.com/category/kontakt-instruments/hideaway-studios
 

..and a nice introduction by Cory Pelizzari to the Hideaway Studio Kontakt Libraries:
https://www.youtube.com/watch?v=k-C7a3ChC9U&feature=emb_title


For more on releases from Hideaway Studio for Kontakt please visit the blog at:  www.hideawaystudio.net