Name: The fielding-principle by jussi piekkala
Duration: 3 min 58 s
Description: I once had a friend who really could sing.

Drone Dark Ambient.
Recorded by multitracking a Make Noise 0-Coast over 4 tracks.
Key Plugins used - Eventide Octavox (for main drone), Dawsome Love (for long reverb) and PSP Vintage Warmer 2 for a small amount of saturation.
Mastered using Pro-Q 3 and Sonible Smart Limit.
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Hollow

I once had a friend who really could sing.

The fielding-principle

after two years of abstinence, senking takes us again into the depths of his musical creativity with his new record »closing ice«.

the nine tracks of the album are intently dedicated to his distinctively bass-heavy and atmospheric compositions and the trips into the dark recesses of the human psyche.
the mid-tempo grooves leave plenty of room for his sawing, war-declaring sounds that are unfolding expressive and gloomy but nevertheless warm soundscapes. every now and then, like a distant echo, a pacifying melodic fragment gives comfort and hope. however, the very open and seemingly improvised songs always follow their inner musical logic. »serpent« or »lighthouse hustle«, for example, could indeed be interpreted as conventional arrangements. and anyway, the riffs and melodies on »closing ice« are rooted in a profound tradition of rock and pop music.

with »closing ice«, senking delivers exactly what the title promises: a balancing act between danger, hope and destruction, this record is an eerily beautiful companion into the innermost spheres.

© 2015 raster-noton. archiv für ton und nichtton, LC01293
release date: september 25, 2015
catalog no.: r-n166

www.raster-noton.net

senking »winter brevet« taken from senking »closing ice«

inspired by her residencies at stockholm‘s EMS studios, kyoka‘s new EP »SH« might be her most experimental record so far.

the 4 tracks presented on this EP can be described as snapshots having a spontaneous character as they were edited and recorded during various sound checks and performances.

the results are not less typical of kyoka‘s chaotic sound with unforeseen shifts in beat, unpredicted repetitions and surprising clicks and bops. the rather slow and gloomy opener »susurrus« is followed by a somehow dubby and strongly up-tempo track, »smash/hush«, that culminates in a repetitive and hypnotic swirl. the b-side, on the other hand, continues with a rather slamming track and is rounded of with »shush«, a track that loses some speed, but not complexity through its diverse breaks and cuts.

besides a release on vinyl, this EP will also see a CD release in japan with two additional tracks that will be available digitally through raster-noton‘s online shop.

kyoka »smash/hush« taken from kyoka »SH«

»decadent yet depraved«, the debut album by belief defect, finds shelter and complicity in raster as home and label.

familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener.

at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.

the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future — underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album.

yet, more than a political statement »decadent yet depraved« is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

sculpture, prosthetics, photography by sarah sitken.

Decadent Yet Depraved

belief defect »deliverance« taken from »decadent yet depraved«

Performed on Make Noise B&G Shared System modular synthesizer.
No overdubs or post-processing.
Video of the patch performance here:
https://youtu.be/jDtGzu8cxPU

'POLYMATHS' Make Noise B&G Shared System

Carmelo Pampillonio interviews Make Noise's Tony Rolando and Kelly Kelbel, as well as BMC painter Frank Hursh.

Episode 3: Make Noise + Hursh

From Text-Sound Compositions by Stephen Ruppenthal
Mastered at Big Red Studios, Bainbridge Island, WA

Voice: Linda Leudtke
Processing and electronic score: Stephen Ruppenthal

Text-Sound Compositions - 1970's

Kakao-Poetic Lippudenies of the Ungumptious (1975)

Made for https://www.ambientonline.org/forum/ambient/ao-challenges/84801-one-sample-dare-challenge-57 from a sample provided by https://soundcloud.com/rumblin_cynth_rampo, namely https://soundcloud.com/rumblin_cynth_rampo/air-locked-radiator.

An explanation of method, as well as other tracks by fellow looneys, may be found on the project page.

Chompressa [AO OSD 57]

This is an edit of two half hour live jams performed 01.09.19. They were performed in one take using a live looping improvised approach, no overdubs, just a loose structure in my mind and making it up as I went along. This is part of my preparation for a performance at the Teesside Cyberpunk Convention in November (this doesn't represent a potential set, more experimenting with different approaches). I took my favorite parts and mixed them into a slightly tidier edit.

LA Streets, 2019 (Improvised Live Studio Session)

- Here on offer is music created using several hardware synths, effect modules, as well as a few software synths and sound editing software.
- My main musical interest is the mangling of sounds. Melody and structure is nice too, but only when used sparely. My style relates to the sonic explorations at the borders of tonality and beatless rhythms.
- My favourite occupation is fiddling with knobs and finding sounds never heard before.
- Mostly I strive for the ambient style where the rhythms grow from sounds interveining with each other.


The fielding-principle

jussi piekkala

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