es muy disfrutable este paisaje sonoro!! y  cree una idea de Valparaíso! maravilloso

Autechre - shimripl casual
Ethan Vaniderstine - advant
W - Un I
Furla - V V V V 100 100 100
Twin Galaxxies - Excrescence
Tim Hecker - Virginal II Out
Slonnesh - Strife
Quirke - Xultext Cradle
Bernard Parmegiani - Question de temps
Mia Windsor - Meta
Ipek Gorgun - Knightscope K5
Holly Herndon - Bridge (with Martine Syms)
tonota - sve se kretalo i sve je stalo. (Late Dinner Remix)
namatamago - part II
Nick Storring - ARTIFACTS (I)
LOW POWER STATE - For Alan
shampoo - infinity mirror
Nathan Fake - Vitesse

@stepintoonline

Mix for Root Radio [24/5/21]

Performed by Catherine Harris at St Anthony of Padua Catholic Church, Beeston, Leeds.

'Malum Opus' (translation: apple/disaster work) was written with the thought of a decaying apple in mind and my perceptions of decay, whether it be the withering wrinkles and crevices as the item falls apart, or the beautiful colours that appear in sprouting mould. The piece oscillates between consonance and microtonal dissonance, shifting the listener’s perceptions of the chords as they transition within these oscillations, gradually moving closer towards a microtonal decay and then eventual resolution as the apple becomes part of the earth.

Malum Opus, Performed by Catherine Harris, 12/12/2021, Leeds.

Cuerpo

Performed by Huw Morgan at St Thomas the Martyr, Bristol.

'Malum Opus' (translation: apple/disaster work) was written with the thought of a decaying apple in mind and my perceptions of decay, whether it be the withering wrinkles and crevices as the item falls apart, or the beautiful colours that appear in sprouting mould. The piece oscillates between consonance and microtonal dissonance, shifting the listener’s perceptions of the chords as they transition within these oscillations, gradually moving closer towards a microtonal decay and then eventual resolution as the apple becomes part of the earth.

Malum Opus, Performed by Huw Morgan, 14/05/2022, Bristol.

Mix of three excerpts from our upcoming 3LP/2CD archive of Else Marie Pade's electronic work.

Else Marie Pade Electronic Works- Excerpt Mix

This work is an acousmatic single sound source work for water, which explores the transformation and trajectory of water. Using a single sound source creates a strong relationship between the sounds. Contrast is achieved by using both natural and sourced water sounds. By using these two types of water categories enables interesting textures to be created. Natural water sounds come from natural water sources created by nature including; fountains, fish movements, outside rain and dripping. Sourced sounds comes from water that has been tamed and domesticated by humans including; marinas, locks, docks, ponds, bathroom noises, garden fountains, fish tanks and rain on different manmade surfaces. This work experimented with Denis Smalley’s concept of ‘causality’ in a variety of ways, including cause and effect. Smalley’s concept allows the work to experiment with gesture as a formative element. There are moments of buildups, climaxes, attacks, releases, which create intensity and depth. This aids and helps the work transition into different sound worlds and spaces. 

Locks, Docks And Liquid Hydrogen (2013)

Fragmento concierto de ciudad "193[Hz]", grabado en Valparaíso el 29 de enero 2012 con 8 estaciones de registro simultáneo y sincronizado.
La presente edición busca demostrar cómo la obra, o al menos la unidad que sugiere un concierto de ciudad, es en realidad un imaginario colectivo.
Mientras mayor el área definida para el concierto, mayor el mega evento que asumen los organizadores, "olas de sonidos". Pero por la experiencia en Santiago (concierto del 28 septiembre 2010) sabía que el concierto llegaría desmembrado, que hay que salir buscarlo y que el concierto ni siquiera es multifocal, como sugiere el músico, sino exquisitamente desenfocado. Mientras más registros aislados caben, más evidencia queda de la inexistencia de un foco o multifoco. El auditorio no es la ciudad, el auditorio es simplemente imaginario, la obra termina siendo imaginaria y su registro inverosímil, un invento.
La partitura de 193[Hz] fue escrita por el músico e ingeniero Fernando Godoy, concebido para campanas, sirenas y bronces, basado en el modelo caótico determinista Mapa de Henon y el modelo estocástico Uno sobre F, según la tesis "Modelos matemáticos para la composición de música generada por composición", Instituto de Acústica, Universidad Austral de Chile.

Bounce  41.19.539 rev 01

Hymn Without Words - Excerpt

Tombeau pour Françoise Barrière

Composición, Carlos Nina (2015)
Intérpretes:
Vladimir Humiri
Andrés Salinas
Aaron Rojas
Miguel Medrano
Dylan Pabon
Jimmy Luna
Victor Ramos

Homenaje a Alfredo Jauregui

I have been interested in micro-macrocosmic structures since I heard John Cage’s Three Dances for Two Prepared Pianos (1944) a couple of years ago. Meta is basically this concept taken to an extreme. By this I mean, an already micro macrocosmic piece is sampled and re-used in the previous version of itself.

The macro structure of the initial piece is in 5 sections, is palindromic and is 5 minutes long with the sections following this structure: sustained (50 secs), percussive (25 secs), combined (150 secs), percussive (25 secs), sustained (50 secs).

The sustained sections all feature a synth loop of 5, 10, 25 and 50 seconds and the percussive sections all feature a loop of 2.5, 5, 12.5, and 25 seconds. The central section uses a combination of these loop lengths with some silence so that the samples can be experimented with, in that section. I used the session view in Ableton Live to help structure the piece and I used analogue, modular and FM synthesis for the loops, with an example of each in every section.

The second part of the process was sampling and re-contextualising the existing material, on top of what had been previously recorded. I established that there would be no changes to the original material at all once I began sampling. I decided to follow the method of using samples from the percussive sections in sustained sections and vice versa, as not to overwhelm an already existing texture. I also wanted to re-use samples in different ways to their original purpose, so manipulated all of them in audacity, with occasional effects and processors in Ableton. In some cases, I was able to make percussive ideas sustained and vice versa. This allowed the piece to fully transform into something different, whilst still being based entirely on itself.

Bounce 41.19.539 rev 01

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