Name: Being Unexpected by Imberbe
Duration: 3 min 2 s
Description: To Mathilde's Cat and Bernardo aka Jossandro

Taken from the album 'Precious Things' out on X4 Records

Precious Things

The Veil

An unreleased version of "The 7th." The original version of this track appears on the album Grey With Breaks on Suction Records.

Grey With Breaks

The 7th - Broken Version

Dancer

Attirance

░H░A░U░S░A░Z░I░D░

co-commissioned by the SWR Symphonieorchester and the ELISION Ensemble 
dedicated to Robin Kirkham

premiered by the SWR Symphonieorchester and the ELISION Ensemble at the ECLAT Festival, February 2, 2024

conducted by Brad Lubman

For Seed I:
Peter Veale, baroque oboe
Carl Rosman, 3-key baroque clarinet in D and basson de chalumeau
James Aylward, baroque bassoon 
Alex Waite, harpsichord

For Seed II:
Christoph Grund, piano
Ursula Eisert, harp
SWR Symphonieorchester

Not intended as a concerto, Das Phonem zwischen zwei Wörtern (b) is composed in two different tunings for two interdependent pieces, which can be performed together or as two stand-alone works. Written for baroque ensemble and large orchestra, this work is the second part of a three-part cycle, which engages with a multidimensional study on timbral and harmonic spaces, intended to offer an approach for re-thinking how discrete mappings of a given tuning can be re-imagined simultaneously within continuous terms.

In this work, the piece engaging with the large orchestra was written in 443Hz and composed in relation to a 3D acoustic model that I designed based on architectural structures that are no longer standing — namely the 6th-century Basilica of St. John in Ephesus and the Church of the Holy Apostles in Constantinople. Rather than for simulation or a fixed point of observation, this approach to 3D modeling was activated to develop sonic-temporal architecture emerging from two spaces, as a way to visualize and re-imagine what lies in-between, through which embodied spaces of the pasts that have been erased become visible through corporeal reach and sound.

This cycle brings together collaborative research initiated in parallel with the study informed by the 3D modeling. Initiated in 2022, this research is based on numerous sessions conducted with Peter Veale on performing baroque oboe and modern oboe; Carl Rosman on performing 3-key baroque clarinet in D, modern clarinet in Bb as well as basson du chalumeau and modern bass clarinet; James Aylward on performing baroque bassoon and modern bassoon; and Alex Waite on performing harpsichord and piano.

Written in 415Hz, the piece composed for the “baroque ensemble” is informed by this research, and correspondingly engages with instrument design and its relation to body and space, not as means to arrange a fixed past with a fixed present, but rather to trace how coeval pasts inform contemporary performance praxes, while also unpacking the conditions surrounding how instrument design relates to embodiment and space.

Activating interrelationships of sound, space, and corporeality as a mode of unlearning, Das Phonem zwischen zwei Wörtern (b) in its simultaneity is therefore an effort to take account for what may be not rendered visible, but is nevertheless present in space, and to address traces of multiple pasts not just in relation to the conditions of what remains, but also to the conditions of erasure.

Das Phonem zwischen zwei Wörtern (b), for baroque ensemble and large orchestra

an long remix of lost and found king tubby's classic. fall for dub is a rare dub with lots of skang great bass line and wicked vocals. here is my attempt to reversion this tune but not in dub, in pure fast jungle dnbassline stlyle with banging drums. enjoy the work. long live king tubby and his dubs! let's rock!!!
link to the original:
https://www.youtube.com/watch?v=6YaZsYS1DeA

king tubby meets autonomaton - falling for dub (jungle remix version)

To Mathilde's Cat and Bernardo aka Jossandro

Being Unexpected

Future Relics captures the remnants of light and memory, where embers smolder in blue silence and fragments of flame float in stormy skies. Glass eyes gaze upon horizons frozen in time, while whispers echo off the marble and shadows settle in delicate patterns. Each track traces a path through ephemeral moments, where golden fractures shimmer and the vast embrace of what remains endures silently, timeless and eternal.

Dreamcarver

An ambient, calming instrumental track about seasonal changes

Fall Leaves

An instrumental odyssey through the infinite. *The Endless Symphony* translates the mathematical beauty of π into music — patterns without repetition, harmony without end. Each movement explores a facet of infinity: creation, balance, entropy, and return. Through orchestral textures, ambient electronics, and minimalist design, Avaline Ingels constructs a sonic architecture that feels both divine and human — precision guided by emotion.  
Piano, harp, and strings trace circular motifs while choirs breathe in golden ratios. Tempos shift by Fibonacci values, phrases extend by digits of π, and melodies evolve like galaxies forming. The album’s structure loops perfectly: the finale’s final drone blends into the prelude’s first chord, forming a seamless circle of sound.  
*The Endless Symphony* is not a story but a mirror of eternity — a composition that, like π itself, continues forever, revealing meaning only through motion.

Harmonic Crust

No Center
Only echoes 
Half-lit
Slowly dragging
imberbesonoro@gmail.com

Being Unexpected

Imberbe

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