From the forthcoming digital album release "Objects of Dissociation Volume 1", this selection is a recent live-in-the-studio rendition of a track recorded for the "Revisionist History" CD (2016).

iBlue (Lithic Version 12 - 17)

Bennings

Bludenzer Tage zeitmäßiger Musik 2019

Performed by Ensemble Distractfold:
Linda Jankowska
Emma Richards
Alice Purton

Recorded by Aaron Holloway-Nahum

sottilissime

memo ; 耳だけ起きてるくらいのかんじ　14 mar 2020

Head,ears

New Moon

Texture 1

In response to a haiku by  Darren Bourne aka halF unusuaL:

urban chorus
harmonious tones
uncomposed

based on a recording of the underground train in Athens on a mobile phone.

For more: https://www.naviarrecords.com/2020/09/23/naviarhaiku351-urban-chorus/

the underground on a summer day [Naviar Haiku 351]

I sat down to make music with the intention of finding a way to express my emotions at the moment, and I was confronted with a wall of mental noise, presented to me by all the music technology at my disposal. While I struggled to find my heart, my mind was busy thinking about technology and technique. After a bit of discussion with @dr.no and @Hawthorn, decided to run with that as the concept for the piece. This is the result. 

I decided to also take inspiration from #disquiet0460 and start with a tortured, complicated sound (evocative of the mental "noise" that comes from using music tech for expression) and transitions to the starting point, then returns to the chaos. 

I started with a simple arpeggio on a nylon guitar (which I later changed to a synth sound). Added a Bitwig Micro-pitch device set to an obscure Wilson scale, and added a send track with Output Portal (granulated pitch transformations in this case) & Thermal (more glitchy feedback fx) on it. Added automation to start with Micro-pitch wet, FX send volume, and global tempo set very high, decrescendo, and then re-crescendo, over the course of the track.

TS 1:2 - Microtonal Emoji - disquiet0460

Another experiment with electric guitar loops. The main difference between today's and yesterday's (https://soundcloud.com/disquiet/passing-waves) is that yesterday's was recorded serial, so anything coming from the first loop also appeared in the second loop. That gave it a certain density, but, well, it also gave it a certain density. This was recorded in parallel, meaning whichever looper was recording at a given moment was only recording what was being played by the guitar, not what happened to be coming out of the other looper. This means the density took quite a while longer to achieve, but also that the individual segments are much more distinct, even after density has accrued. Also, the loops are quite a bit longer. Recorded from stereo speakers into a phone (yesterday was from a mono amp), though I'm not sure if the separation is particularly apparent. Major noise reduction in Adobe Audition, and a tiny amount of reverb.

Parallel Normal

Modern Classics

O:V:
https://soundcloud.com/minaroot/perched-remembering

Bennings

Matthias_Urban

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Leon Huene

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