THE ALCHEMY OF SOUNDS:

"I think sometimes the role of a person who makes music is to take these everyday noises that are ugly and make them beautiful, and by this they doing magic..." ~ Bjork (singer-songwriter)

*No well-known musical instruments were used in the making of this music or sounds. No notes, notation, complex scale, or any simple chords. All sounds were made of random noises we collected, recorded and mutated, except for the human voice.

Ingredients:

1. Personal sound of morning piss on a Pik-Nik (original) can.
2. Wine Glass harping.
3 Crumpled newspaper.
4. Rubber band, plucked.
5. Stapler, pressed several times.
6. Comb scraping with hairpin.
7. Shake water jug.

We call the technique used in this music or sound as “Digital Radiophonic” or “Databending”. It is a digital version of the original techniques such as Radiophonic and Music Concrete were composers use magnetic tape, morphophone and other recording devices available at that time to record and manipulate raw sounds from anything they could find on their surroundings or "found sound" like frying pan, spoon and fork etc. They manipulate these recorded sounds by changing its speed or tempo, altering the pitch, distort it, reversed, apply effects like echo, delay, flanger and so on to create new weird, strange, out of this world sound.

One of the key figure in radiophonic is Delia Derbyshire (musician, composer of electronic music, and music concrete), they call her “The Sculptress of Sound". Best known for her electronic realization of Doctor Who theme music (BBC science fiction television, 1960's).

The only difference between Digital Radiophonic and the original Radiophonic itself is the device use. Here we only used computer, music editor software, and a ordinary microphone use for chatting but the process is much like the original radiophonic, only we manipulate sounds as wave form on the music editor software and we want to be minimal in a sense, and to be sound more like glitch music similar to the works of Alva Noto, Ryoji Ikeda, Pan Sonic, and Kabutogani. 

However glitch music is primarily made of computer or any machine sound errors. So what we basically do here is creating a glitch sound using radiophonic/music concrete technique and databend digitally.

It’s not complex or technical and not so simple as well, but more detailed (fussy) and time consuming, so you would put a lot of effort just to create a 1 minute or 3 minutes music piece out of the abstract sounds you may find wherever they came from.

Digitally it’s not that easy, what more for the original radiophonic and music concrete were they cut and paste magnetic tape manually to produce unconventional sounds? But it's really worth the journey, especially if you’re into experimental music or sound art.

Music concrete, radiophonic, glitch music, and digital radiophonic is a new look or another way of composing presented by means of non-traditional way of making music. Collecting any form of noises or sounds then turning it - the abstract, errors, and chaos of sounds into order. As Pierre Henry (pioneer of the musique concrète genre of electronic music.) states: 

“Musique concrète, in my opinion … led to a manner of composing, indeed, a new mental framework of composing".

Everything is Sound (radiophonic)~ Gen Thalz

 I pursue the intersection between timbral and tonal expression. Tonal expression is deeply embedded while timbral expression brings new opportunities for exploration. Timbral music requires new methods of composition to break free of the dictates of western music notation. Sampling provides an avenue for using tonal music within other frameworks. I use my own graphical notation system, the scores are then played programmatically using samples as the source. This provides for seamless intermixing of melody and timbre and the interplay between the two.

This piece came out of a few distinct inspirations. When the idea came to me, I was listening to a lot of Steve Reich and John Adams music, and studying their techniques of building texture. At the same time, I listened to a piece by Ludger Brümmer called Le Tombeau de Maurice where he used samples from a performance of Maurice Ravel's Le Tombeau de Couperin. He generated textures that would rapidly morph into almost direct quotes from the sampled piece. I got the idea to try to combine minimalist textures with this kind of rapid transformation. It made for an interesting contrast between very clearly tonal and very clearly timbral music. I chose to sample a piece by Duke Ellington because the mood was similar in spirit to my intentions. Also, the piano provided good source material for the textures I intended to create. In terms of the technique actually used for composing, I drew on one of my very original inspirations for getting into computer music: Iannis Xenakis' Mycenae Alpha.

More info and complete sources are available here:
http://at.or.at/hans/solitude/

Solitude

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Alva Noto - m01 & Witold Lutoslawski - Interlude
William Basinski - The Disintegration Loops II & Yosunao Tone - Solo for wounded CD Part II
Emptyset - Limit & Gyorgy Ligeti - Chamber Concerto (III)
Aphex Twin - Blue Calx & Daphne Oram - Pulse Persephone
Philip Jeck - Wholesome & Milan Knizak - Composition No.3
Toshimaru Nakamura - Nimb#49 & Anton Webern - Piano Variations Op.27, no.1
Ryoichi Kurokawa - Read#2 & John Cage - Empty Words
James Hoff - Scratch & La Monte Young - Drift Study

M.A.CH.E. is the name of my cat

M.A.CH.E

Remix for https://soundcloud.com/camel-power-club :) Enjoy!

https://instagram.com/fischerhannes

Listen on Spotify!

Camel Power Club - Laïka (Hannes Fischer Remix)

The project “frequencies (sound quanta)” represents the audio version of “frequencies (light quanta)”, a sound and light installation commissioned by LABoral Centro de Arte y Creación Industrial, Gijón, Spain (August – October 2014).

Taking the quantum – the smallest measurable value of energy – as its conceptual basis, the project metaphorically creates relationships between basic quantum physics principles applied to the audiovisual creative process: particles, probabilities, wave/particle duality and discontinuity. Structured around these notions, the composition stems from 100 sound fragments that develop themselves aleatorically, generating an ever expanding yet disruptive form.

The release takes the form of a limited edition of 100 transparent acrylic panels. Each one is laser cut with a unique design, replicating the 100 panels of the physical installation. People who order the release will therefore receive a totally unique art object. The release comes with a card + download code, 100 sound files and a software* (programmed by Ennio Mazzon) allowing to randomly play the soundfiles.

Co-produced by Farmacia901 and Mote Studio.

nicolas bernier – frequencies (sound quanta)

Desarrollo

Re-imagining of the Aricebo Message sent into space, reading each pixel as a sounds.  These recordings were created using a Max/MSP patch and the internal Mac voice-to-speech voices.

The resulting text files that were read by the computer are available for download.  They include a “phonetic” header for the computer to read.

Desarrollo

Jaime Rodr.

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