performed by Maciej Skrzeczkowski on 21.06.22, Royal Conservatory of the Hague (NL)
mixed & mastered by Lilita Dunska

for blandine & maciej

Free Download

Say my name Boy - Milkdonna edit

OCCAM VIII is a solo for contrabass recorder by Eliane Radigue, performed by Pia Palme. This is a small part of the live recording of the premiere at Huddersfield 2014. The complete piece is up to 18 minutes long.

OCCAM XVIII (Eliane Radigue 2014) - cut

A rising name in Berlin’s ever crowded pool of talents, Eerste Communie resident Windfuhr has been developing his own idiosyncratic persona at the junction of heavy-traction 4x4 rhythms and deep, hypnotic folds of intricate melodies and exotica-laced electronics. Minimal in essence but maximal in effect, his compositions bridge the gap between stripped-back functionality and dreamy escapology, neatly coordinating the throbbing cavalcade of racy uptempo machine funk with layered, modular-like transmissions as his feverish drum programming leads the charge. No doubt Windfuhr’s name is one you’ll hear a lot more in 2024.

soundcloud.com/windfuhr

Reclaim Your City  

Reclaim Your City 575 | Windfuhr

I'm new lol - original composition synth & voice

Twix Crunchy Snickers Mars

Opening section of I Did and I Didn't to be performed at Bastard Assignments: Fresh & Clean 2 at Asylum http://freshclean2bastard.bpt.me

In a slow wave gradually start singing, sing a different note to your neighbour. 

Performed by the City Lit Community Choir. 

I Did And I Didn't (opening)

I developed Who's Exploiting Who collaboratively with the Thin Edge New Music Collective in January and February 2016. There is no written score for the piece, and as a result it relies entirely on the ensemble's collective memory to be realized.

Before each TENMC rehearsal, I corresponded individually with every member of the ensemble via a temporary audio file that I posted privately on soundcloud. These correspondences contained recordings of my voice describing musical parameters, metaphorical text and logistical instructions. During rehearsals, the ensemble patched together a collective understanding of the piece based on their individual memories of the original correspondences. I was not present for rehearsals, thus allowing the resulting constellations of their new insights to supersede my original artistic impulses. 

Who's Exploiting Who is based on one of my favourite songs released in 2015. I fed various musical fragments of the original song through my somewhat scattered memory as well as the (less scattered) memory of the TENMC. The result is (hopefully!) a kaleidoscopic and hallucinogenic exploration of complete musical obsession.

Who's Exploiting Who

Luke Nickel