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Program note:
Still inside, for fixed media is a work composed with sound samples (World 1) as well as using a library of Sound Synthesis maxmsp patches developed by myself (World 2). It comprises Additive, Subtractive, Stochastic Synthesis patches as well as a patch featuring generative processes. The final form of the work was sculpted on Ableton Live. It features the changes in which a human’s brain could be subjected under “inside home” conditions. Yet, even inside we keep dreaming about an outdoors place. Low frequency powerful sounds are featured throughout the work. In the beginning, they are obvious, but later in the work these sounds would emerge out of total silence. Culmination points exist many times, not as aesthetic means but rather as a morphological tool which carries the burden of sonic development.

Still inside got its premiere at Viberation#2 soundscape project in Marseille at the Vieux Port on July 10th 2021 and was streamed on P-Node webradio, https://p-node.org/

Inside, Yet Around A Port, for fixed media (2021)

riss 2
für Ensemble
Ensemble Modern/Leitung : Lucas Vis
Kompositionsauftrag der Alten Oper Frankfurt
für Stephan Pauly und das Ensemble Modern
UA am 30.09.14 in der Alten Oper Frankfurt
(Foto: Pierre Reimer)

riss 2 für ensemble

The title NEuripides merges “Neuron” and “Euripides,” reflecting both the technical method behind the composition and its aesthetic resonance. The piece is generated using an artificial neural network composed of four neurons - a minimal AI system that produces layered sonic gestures throughout the training process. These gestures, often repetitive and evolving, evoke the presence of an ancient Greek chorus: collective, ritualistic, and emotionally charged.

At the same time, the textures and timbres of NEuripides are deeply rooted in the contemporary world. They echo the spectral fragments that define our current sonic environment - from urban infrastructure to data flows and media noise. In this way, NEuripides becomes a dialogue between ancient voice and artificial system, memory and code, evoking how the echoes of the past can still speak through the networks of today.

NEuripides was first performed as a 4-channel fixed media work in Hannover Musik Hochschule in Kammermusiksaal Uhlemeyerstr as part of the exchange program between MIAM and HMTMH. 28/06/2025, 7:30pm.


NEuripides, for 4-channel fixed media (2025)

Michalis Moschoutis - Nylon Love

Performed live on 11.08.2017 at the Kalv Festival.

Rocío Bolaños - clarinets
Linda Jankowska - violin
Emma Richards - viola
Alice Purton - cello

Ann Cleare - Ore

Love is in the hair <3

Live recording in 2017.

Enno Poppe - Haare, for solo violin (2014)

The Intoxication Show December 2012 recorded live 2012-12-29 on 
www.radio4by4.com

01. Danny Cosa - Good Time (Juan Lombardo remix)
02. DJ Hightech - Play That Music (Mono Extra Cheese remix)
03. Lash - Time (Jay Tripwire remix)
04. Winston Lobo - Comic
05. Hans Thalau - Vilde
06. Gareth Bilaney - One Of Us
07. Hans Thalau - Tuva (Rene Breitbarth edit)
08. DJ Ino - The White Russian
09. Housadiction - Soulful Meeting Theme (Old Skool Dub remix)
10. E'Mij - Love Is A Place (JC Love dub)
11. Alcatraz Harry & Ali Scott - Hes Mine
12. Alcatraz Harry & Ali Scott - Hes Mine (Saytek remix)
13. Sebastian Illobos - Shit Is Deep
14. The Discoguns & Umai Move - Square Affection
15. Angel Stoxx - No Guestlist
16. Paygn - Player (Matthew Freedz Groovy remix)
17. Coolerika - Temple Tools (Tribal house mix)
18. George Phantom - Punch
19. Holggy & Rico Star - Carnival Of House
20. Michael Ballus - Neonhimmel
21. Kevin Over - Basement Rip 12
22. Alex Drayling & Aquareef - Thailand (Human8 remix)

       www: www.hangoverboy.se
  facebook: https://www.facebook.com/pages/Hangover-Boy/153835152108
   twitter: @hangover_boy
soundcloud: soundcloud.com/mgroover
     radio: www.radio4by4.com


Hangover Boy - The Intoxication Show December 2012

String Quintet  "Sich Motivieren" Kammerensemble Konsonanz

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de, and for the final output: In Love…, for voice, ensemble and mixed media https://www.youtube.com/watch?v=ORJfUvJ0iUo, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media https://www.youtube.com/watch?v=EhBiIEBGrY4

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble). Upcoming activities comprise performance of the existing work Ripping…having…standing…oben!!, for ensemble in Versipel New Music festival, Louisiana (postponed for 2021 due to pandemics) and a premiere of a work specifically written for MISE-EN festival, New York (postponed for 2021 due to pandemics). 

For a detailed CV follow this link: https://www.dropbox.com/s/hprdtba1p9plqhj/CV.pdf?dl=0

NEuripides, for 4-channel fixed media (2025)

Manolis Ekmektsoglou

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