como sempre belíssimos timbres e Batimentos!

04 - Eluvium - Time - Travel Of The Sloth Parts I, II, & III

cassette rip pedacin

Domestic recording of piano piece with the composer playing. Mixed by Rafael Sarpa
score: https://www.dropbox.com/s/8fh9e03pdxfttgp/curtos%20circuitos%20I.pdf?dl=0

Curtos Circuitos I (2001) for solo piano

Comme Des Larmes welcomes Luísa Leão is an artist, psychoanalyst and cultural activist based in São Paulo, Brasil, who performs under the name of Blasfemea. Since 2018 she has had the opportunity to
create multicultural experiences through the d.i.y label Darq Distro.

Her intention behind her research is to rescue and update musical memory by mixing different genres and rhythms from different periods, especially within the spectrum of punk, techno, ebm, industrial, among others.

• https://soundcloud.com/blasfemea
• https://www.instagram.com/blasfemea___/
• https://soundcloud.com/darqpunx
• https://www.instagram.com/darq___distro/
• https://darqdistro.bandcamp.com/
• https://www.facebook.com/darqpunx
• https://linktr.ee/lvisaleao
• contact: luisareisdeleao@gmail.com


Follow us:

• https://linktr.ee/commedeslarmes

Art/Designer CDL by Rennst

• https://soundcloud.com/RENNST

• https://www.instagram.com/_rennst_


#podcast
#blasfemea
#luisaleao
#darqdistro
#mix
#idm
#commedeslarmes
#cdl
#newbeat
#mutant
#mutantradio
#electronicmusic
#leftfield
#industrial
#balearichouse
#minimalsynth
#techno
#leftfield
#electro
#ebm
#ambient
#mixtape
#darqsp
#set
#break
#br
#saopaulo
#downtempo
#breakbeat
#punk
#acid

Comme Des Larmes invite Blasfêmea

Blasfêmea - DARQ

00:00-02:52: slow and lamenting
02:53-06:45: dreamlike and impressionistic
06:46-09:20: like an inky blackness
09:21-11:45: like a creeping dread
11:46-14:44: like a waking nightmare

performed by Grant Mack.

Five Dreamscapes for solo piano

Music for the first 13 primes : Glissando Phase III (Sūtra) (2011)
for violin duo
(Excerpt) Systems 1 and 2.1

Performed by Conrad Harris and Pauline Kim-Harris

Live @ Exapno, 10.23 as part of the String Noise program with:
Petr Kotik, Elizabeth Hoffman, Eric Lyon, 
Matthew Welch, Caleb Burhans, Todd Reynolds, 
Ellen O'Mera, Elizabeth Adams, Yoon-Ji Lee and Stephanie Hugenin.



Music for the first 13 primes : Glissando Phase III (Sūtra)

For piano, keyboard, cello, contrabass clarinet, acoustic guitar, percussion, voice, transducers and live electronics.

Martin Schüttler: Selbstversuch, die Anderen (2013)live in Darmstadt 2014

Piece composed for, and recorded in, Mario del Nunzio´s cd "Vertebra". 
Score: https://www.dropbox.com/s/9y29ps6oxm6vxnf/V%C3%A9rtebra.pdf?dl=0 

“... ele dizia, tocar na flauta da própria vértebra e falava também em coração e em ícones nele guardados guardo no meu coração este ícone que não sei do que é e esta vértebra que sustenta esse tempo esses momentos e esses sons que aqui se enunciam como este texto no qual não percebo o que está sendo dito...”

Vertebra is composed for one musician playing two guitars, amplifiers (two or multiples of two), two e-bows, mp3 players (or any other portable playback equipment), effects and volume pedals.
	Almost every sound in the piece is controlled by the guitarist, without any kind of automation or pre-recorded sources. The only exceptions are the use of long moments of feedback created by the amplifiers correlated with the guitars, and the use of the recorded voice on the mp3 players.
	Amongst the conscious musical references are Earth, -notyesus>, Stockhausen, Alvin Lucier, and at least two other works by the composer: Poslúdio (“Postlude”), for prepared piano and electric guitar; and Moldura (“Frame”) for four electric guitars. The relationship between these references is structural, but also affective. Vertebra is an assemblage of affects presented as memory.

The musical devices that are exhibited in Vertebra compose, thus, with the player herself, a total musical body.

	THIS PIECE SHOULD BE PLAYED LOUD.

Vértebra, for electric guitars (one performer) (2011)

a̸͓͔̎ọ̷̯̦̃ ̵̖̜̘͗̎̈́v̵̼̈́͜i̴͚͐͋͜͜v̶̛͔́̑o̵͇̪͐ ̴̢̮͆p̴͎̙̒̚r̴̨͕̥͊ȯ̸̒̚ͅ ̸̖̻̕n̶̘̬̾a̷̛̮̠̽d̶̢̀͝a̷͖̙̻͘
𓁿
__ saâda bonaire/more women
__ diseño corbusier/golpe de amistad
__ cabaret voltaire/yashar
__ eye/yellow density
__ chbb/neger brauchen keine elektronik
__ dj loser/there is not such thing as selflessness
__ november növelet/misanthropy
__ eye/undress
__ haus arafna/mirror me
__ herz jühning/messiah
__ broken english club/crime
__ batz without flesh/dirt
__ abstract deity/fault
__ image pour image/where is the love in this world

𝔐ℑ𝔛 001__ 10/2018

Michael Vincent Waller
Y per Henry Flynt (2012)
for solo cello

performed by Brian Snow

New Renaissance concert with Ensemble Epomeo
recorded by Daniel Neumann
at Our Lady of Lebanon
10.19.12

Michael Vincent Waller - Y per Henry Flynt for solo cello

Icon, for orchestra 



score:

- Saturate a given sound space.


comments to the score

1. We understand by sound space any interval delimited by a frequency x and another frequency higher or lower than x. 

The sound space in question must first be selected taking into consideration the extensions of the instruments that comprise the orchestra.

2. The order "saturate" should be understood as an attempt to occupy all frequencies closed between preset limits (high and low).

To facilitate the implementation of this order, the instruments used in the orchestra should be able to play microtones.

2.1. The musicians should listen to the texture that is sounding, seeking to fill empty spaces, that is, spaces which are not already occupied by a sound.

The frequencies proposed by the instruments must be sustained for longer or shorter periods of time, after which one can exchange one’s sound, always obeying the logic stated above.

3. The order proposed in the score is impossible.

The musical space comprised within a frequential interval can always be further divided, resulting in the existence of new empty spaces:
The space cannot be saturated.

From the point of view of the performing musician, the work must be an experience of this impossibility. From the point of view of the listener, it is a long cluster with internal timbral exchanges.


The work should last long enough.


J.-P. Caron
2006/2009


.........................................

2012 version:
Claudio Cabral- guitar
Magno Caliman- guitar
Marcos Campello- guitar
J.-P. Caron- amplified viola and voice
Paulo Dantas- tenor saxofone
Rafael Fortes- tenor saxofone
Henrique Iwao- electronics
Rafael Sarpa- voice
Carlos Eduardo Soares- guitar
Felipe Pacheco Ventura- amplified violin
Felipe Zenicola- bass guitar


Mixed by Felipe Zenicola and J.-P. Caron

Ícone (2012 version)

J.-P. Caron

https://www.youtube.com/watch?v=bBtnBYARkcE



Ícone (2012 version)

J.-P. Caron

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