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

Part of the "Tone Science Module No.10" album, which you can find here : https://dinrecords.bandcamp.com/album/tone-science-module-no-10-the-final-patch-din-ts10

A Quiet Sun

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«

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)

lena andersson is a fictional character created by berlin-based japanese artist kyoka and irish producer eomac. both met in 2016 during a residency at the stockholm EMS studios. the initial spark of their collaboration was a joint session on the studio's buchla system, later expanding to multiple other sound sources and instruments at sessions in the etopia studio in zaragoza supported by fuga.

during the improvisations, a call-and-response working principle emerged immediately which joins the special talents of both musicians. kyoka's free and experimental approach forms part of the source material that is contrasted with eomac's skillful editing; unconventional reflections face a driving force. from kyoka's extensive field recording collection, an arabesque of disturbing vocal fragments arises that is set against eomac's hard rhythmic framework, as in »das tier«, for instance. »37 years later« or »mystic« live on a vivid texture that has been condensed directly at the mixing console into a kind of dramaturgical capturing of the moment. the immediacy of the collaboration forms the basis for a synergy of the individual production techniques. a strategy that lacks neither absolute creative freedom nor an awareness of musical function.

»söder mälarstrand« thus captures an intuitive cooperation between the two producers, which also refers back to the place of origin through its dialogical, moment-related production principle. the album title is a tribute to the stockholm studios where the project began.

»söder mälarstrand« will be released on the 28th of june 2019 on CD and digitally.

Söder Mälarstrand

lena andersson »middle of everywhere ft. seiki & mike watt« taken from »söder mälarstrand«

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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