Going heavy in Osaka, Japan, summer 2025.

Croma [Live]

Voix Nouvelles Academy – Fondation Royaumont – 
Sound  recording : Caroline Christiaens.

Poem: Fabienne Raphoz, Terre sentinelle

Ensemble Orbis:
Fanny Martin    flute
Yui Sakagoshi  saxophone
Lisa Heute        accordion
Louis Quiles      percussion    

Singers:
Clara Barbier Serrano
Lou Thomas
Lucile Bailly-Gourevitch
Emmanuelle Jakubek
Virgile Pellerin
Vanessa Guinadi

teinte du reste

Pneumatic # 2

Photo: Glasgow, Scotland, 2024.

A toast to everyone who passed through the doors of No. 10.

Some more laid back dreamy goodness for you to start the week.

As ever, listen all the way through = good karma... thank you.

Drums: NI Kontakt loop.
Bass: Sandberg Elektra 4-string with flats through NI Guitar Rig.
Guitars: Fender Telecaster and Godin Montreal Thinline into NI GuitarRig.
Keys: various VST from NI and Arturia.
Mastering: Ozone 11 Standard.
DAW: Ableton 12

Bandcamp

Only Wine Passed My Lips In Grosvenor Terrace

Marco Lucchi : piano and electric tanpura

aeolian meditation

Depth Perception LP here:
https://ceruleanascent.bandcamp.com/album/depth-perception

Visuals here:
https://youtu.be/2r0WdKbZQlY

Backward Glance [Extended Edit]

for orchestra

Commissioned by SWR / Donaueschinger Musiktage

A few short bars from the Intermezzo of Ralph Vaughan Williams’ Seventh Symphony provide the entire material for this composition. Through the “sampling” of this score fragment, its musical gesture is frozen: it becomes an “animated still life” (Lauren Berlant), an image that slowly drifts by. The material is extremely reduced, yet never exactly identical. The gesture appears in fragments, presented from countless different perspectives. Only the logic of digital processes is capable of achieving such a precision of cuts within the sample, whose artifacts are translated into complex, displaced rhythms and ornamental variety. This careful transcription of digital artifacts is an attempt to approach a perspective of machine listening. 

Each bar is a cut. The result is a continuity that is dialectically dependent on discontinuities. Peter Osborne, in Anywhere or Not at All, refers to Gaston Bachelard: “‘Psychic continuity is not given but made.’ And it is made out of the temporal structure of the relations between acts: ‘What has most duration is what is best at starting itself up all over again.’” In other words: The deepest continuity is paradoxically that which continually restarts or renews itself.

Sunday, 19 October 2025 — 17:00
Donaueschinger Musiktage — Closing Concert

SWR Symphony Orchestra
Elena Schwarz — conductor

The deepest continuity is paradoxically that which continually restarts or renews itself.

Depth Perception LP:
https://ceruleanascent.bandcamp.com/album/depth-perception

Visuals here:
https://youtu.be/oATHz6C2RNA

Depth Perception II

Having a play with the ppooll software, using one of my own samples (also recorded in ppooll in a previous session) and messing around with it. An awesome piece of (free!) software I'd highly recommend for anyone into sound experimentation. More details at https://ppooll.klingt.org/

Inspired by Oval, Jan Jelinek and other 90s trailblazers of the "glitch" genre.
Played in ppooll, then slight refinements after the performance, including fuzz guitars added on softly in the background.


More on the 724th weekly Disquiet Junto project, Work It — The Assignment: The year’s almost over. Do that thing you’ve been meaning to do — at https://disquiet.com/0724/.

sstart.act.lop {disquiet0724}

Electric guitar, analog bass synthesizer, effect pedals, voice, unsynchronized loops, two tube amps, broken heart beats and a lot of time manipulation. Field recording: electromagnetic waves made audible with Soma Ether. All sounds, voice, mixing and production: Velvet Something Superdark. Image: inside a shop-window in Berlin Neukölln (photo VSS).
This is the second part of https://soundcloud.com/velvetsomethingsuperdark/wonderful-wasted-world-part-1

The deepest continuity is paradoxically that which continually restarts or renews itself.

Laure M. Hiendl