Reminds me of the first CD I ever bought from Japan, back in 2004. <3

Lore in 24

Iktsuarpok is commissioned work by Sebastian Berweck (WP Version II) 
and Sirje Viise (WP Version I)
https://www.youtube.com/watch?v=DvcBHvdTU-M&t=1s

Iktsuarpok for minimoog and tape (minimoog quartet) was created during the Covid Lockdown, a time of unpredictability, fluctuation and cacophony. Iktsuarpok represents the frustrating wait for visitors. Or for someone to save our world. Iktsuarpok continues my artistic work in the field of electroacoustic music and analog synthesizers and is composed and produced as a Minimoog quartet (3 Moogs as tape and Minimoog solo live). All four Minimoogs develop contrapuntal microtonal melodic lines, extremely dense movements that simulate “screaming” sirens with their hard-shelled sound, culminating in an explosion / detonating cluster to awaken “wise closed eyes” of the world.

“Misha Cvijovic’s cinematic Granatchok Iktsuarpok – despite its worn symbolism – was a tasteful drone that gently blended Moogen’s soft and choppy curves.”

Danish Seismograf magazin, June 2022

Festival, concert and radio performances in 2021/2022:
Musica Electronica Nova, Wroclaw
Frequenz – Festival der Klangkunst, Kiel
Heroines of Sound Festival 2022, Radialsystem Berlin
KLANG – Copenhagen Avantgarde Music Festival
Max-Planck-Institut für empirische Ästhetik, Frankfurt am Mein
WDR 3 Studio Elektronische Musik mit Sebastian Berweck
techné [80]: Minimoog
SONIC MATTER Festival, Listening Lounge
Unerhörte Musik Berlin

Misha Cvijovic: Iktsuarpok for minimoog and tape

The online meetings we have all become accustomed to are often accompanied by the experience
of being distracted and drifting off into daydreams. In this piece, you will take part in a journey into
the mind of a host in an online meeting with multiple participants. You will hear how the ringing of
a phone, a car horn, or a glitch in the online stream trigger an irresistible sonic journey in which all
these events dissolve and abandon their old meaning to form new sound worlds that emerge from
their material.

Commissioned by Electric Audio Unit

DAYDREAMING (excerpt, Binaural)

Bandcamp link: https://mariamg.bandcamp.com/track/lotsva 

In March 2021, after two silent years of pandemic, I began collecting chants from around the world for my new acousmatic work. Exhausted by the long period of isolation and lack of contact, my artistic goal with this project was to bring together the voices of people from different countries, cultures and religions and unite them in my musical composition. In the promotional video I posted on my social media channels, I asked for audio recordings with a smartphone and received 26 songs that I used as source material for the piece. The audio files ranged from intimate solo recordings made in a bedroom, to polyphonic folk songs and chants professionally recorded in a studio, to songs accompanied by various instruments. As I listened to the recordings, I realized that my task as a composer was to find ways to connect the voices that were recorded in different acoustic environments, with different keys, tempos, and languages, and to create a sound world in which they could all coexist. Considering the time in which the recordings were made and the work was composed, I consider this piece a collective prayer, hence the title ლოცვა (Lotsva).
The first version of the piece premiered in Oslo on September 9 and subsequently toured other Norwegian cities and international festivals. In the meantime, I kept receiving new recordings, so I added a new contribution from a different country at almost every performance. The final version of the piece was presented at Kulturkirken Jakob as an 8-channel sound installation as part of VoxLAB VårFEST.

Contributors:
Annie Björkman, Sweden
Aine Eva Nakamura, Japan
Heidi Skjerve, Norway
Line Souza, Brazil
Gyrid Nordal Kaldestad, Norway
Nigar Gahramanova, Azerbaijan
Åshild Hagen, Norway
Katy Pinke, Israel
Supriya Nagarajan, India
Zosha Warpeha, USA
Silva de Waard, Netherlands
Zoe Perret, France
Verena Merstallinger, Austria
Diego (surname anonymous), Argentina
Tamo Nasidze, Georgia
Falk Rößler, Germany
Ensemble IALONI, Nino Naneishvili, Georgia
Elvic Kongolo Birkebein, Congo
Małgorzata Olejniczak, Poland
David Zurabiani, Georgia
Sajidah Ahmed, Bangladesh
Andrea Silvia Giordano, Italy
Balint Laczko, Hungary
Marija Astromskaitė, Lithuania
Diana Serrao, Portugal
Christopher Manning, US 


Mastering: Balint Laczko
Cover: Midjourney AI
Video: Manuel Madsen (Norsk Komponistforeningen)
Commissioned by: Ny Musikks Komponistgruppe
Produced at Notam

LOTSVA / ლოცვა (excerpt)

This episode is sponsored by Innovate Audio. Innovate Audio offers a range of software-based spatial audio processing tools. Their latest product, panLab Console, is a macOS application that adds 3D spatial audio rendering capabilities to live audio mixing consoles, including popular models from Yamaha, Midas and Behringer. This means you can achieve an object-based audio workflow, utilising the hardware you already own. Immersive Audio Podcast listeners can get an exclusive 20% discount on all panLab licences, use code Immersive20 at checkout. Find out more at innovateaudio.co.uk *Offer available until June 2024.*

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by composer and sound artist Mariam Gviniashvili from Oslo, Norway. 

Mariam works as a composer and sound artist  – combining electronics, electroacoustics and 3D sound technology with visuals, dance and live performance to penetrate deep into the physical and emotional essence of sound and space. Growing up in eastern Georgia, she sang and played the piano, and studied composition in Tbilisi, Budapest and Oslo. Through her subject matter, her compositions display a curiosity about the world and society – from distractions during online meetings in DAYDREAMING (2022), to the viral patterns in DECONSTRUCTION (2020). Other works explore the Syrian war, a globally- sourced collection of songs and prayers, and a river soundscape in Oslo. Gviniashvili’s music has appeared at festivals all over the world – the New York Electroacoustic Music Festival (USA), BEAST FEaST (UK), Transitions at CCRMA (USA), ICMC (Korea), Mixtur Festival (Spain), ARD Hoerspieltage (Germany), Ars Electronica (Austria), Klingt Gut (Germany), Heroines of Sound (Germany) and Ultima Festival (Norway).

Mariam talks about her journey as a conventional composer evolving into a multidisciplinary sound artist performing her work in spatial audio on multi-channel arrays in different immersive spaces across the world.

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

For extended show notes and more information on this episode go to immersiveaudiopodcast.com

If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more.

Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast

We thank you kindly in advance!

We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com

immersiveaudiopodcast.com

Immersive Audio Podcast Episode 92 Mariam Gviniashvili (Composing in Spatial Audio)

Yerkinkn Ampele (Երկինքն ամպել է) / Turquoise Cloud

Turquoise Cloud

The Sun Dogs

Heavenly Days

original track by abby lee tee
mastering by gcound
artwork by system jaquelinde

By Accident Remixes

Abby Lee Tee - 5 Colors Black (Monophobe Remix)

pipilotti_rist_wicked_game.mp3

Temporary Residing (2017, rev. 2021): This is a piece that explores a myriad of moments, and movements that bridge them. These movements are sometimes enacted through sudden ruptures and at others, subtle leakages and transitions. The piece invites listeners to move through various residences, temporarily inhabiting each space, while exploring diverse sound behaviors and listening situations. It is messy, it is plural, it is always situated.

Temporary Residing

Moroccan Rock Song

Artist : Khansa Batma
Music : Khansa & Tarik Batma
Lyrics : Khansa & Tarik Batma
Music production : Khansa Batma & Unia
Mix & Mastering : Unia

Khansa Batma Production (2010)

DAYDREAMING (excerpt, Binaural)

Mariam Gviniashvili

Recent comments

Night REZ

Dror Elimelech

Related tracks