strings & electronic manipulations...trying to get to outside of everything

Outside Of Everything

WELCOME TO LONDON (COVER FEAT FLOWDAN) by SUBSONIC DISSIDENCE (2022)
Album "WOKE SMEED" (2022)

Welcome to London

WELCOME TO LONDON (FEAT FLOWDAN)

Z-Intellectual Laziness

Rehearsal recorded in preparation for my gig at Cafe Oto, London, on 7 December. Swing by if you're in London: www.cafeoto.co.uk/events/naviar-haiku-fest/

Or join the Bandcamp stream: naviarrecords.bandcamp.com/merch/navia…om-cafe-oto

Zooming into some contemplative, expansive guitar explorations inspired by the following haiku:

from the mist
a boat for cutting reeds in the morning
has begun to emerge

In response to Naviar Haiku's 464th weekly assignment.

haiku by Mizuhara Shūōshi https://haikutopics.blogspot.com/2006/05/mizuhara-hana-no-ame.html

Mizuhara Shuoshi was a 20th century Japanese poet. Shuoshi rebelled against the principles of emotional detachment in haiku, which he thought limited his ability to emotionally express himself through poetry: he started a magazine called Staggerbush which focused on a more romantic, lyrical type of haiku.

mist/reeds/morning (naviarhaiku464)

©2022 ༼ つ ◕_◕ ༽つ ♥♥♥♥ X4 RECORDS
Produced & Mixed by Danny Playamaqui 

Artwork by Wou-Wou & The Wormling
https://www.instagram.com/wouwouandthewormling/

479: 🕳🕳🕳🕳🕳🕳

Eusebio: Percussion 🐙
Rogelia: BrokenBeats and sab•o•tages 👩🏻‍🦰 
Valentino Arco: Synths 🦊
Matilda: Keys 👩🏻‍🦱
Hall: Noise and Sweets ⛑   
Potoo: Basses 🦉 

"watch out for your ears" they say 🕳🕳🕳🕳🕳🕳 

Thanks to you! Much love! 💖💖💖💖
ok done 
🌸🦄💥

Sugar Glider

https://caterpillarrec.bandcamp.com/album/transparent-forms?fbclid=IwAR2MDtUAVEyTzpVchoR3fwAMPJ5VHkhc6Qsdyf_xPuVaN_SZn_5DltuNFw0

Transparent Forms - Nick Ashwood - Cat 010 

Composed in 2022 for Microfest, an annual microtonal festival hosted by Kraig Grady and Michael H Dixon. 

Transparent Forms is Nick’s first group composition following on from his 2020 solo piece Unfolding/Overlay, (Inexhaustible Editions 027). Amanda Stewart wrote in the liner notes to that: “Enfolded in the shifting tones, our ears are at the edge of themselves.” With this new work, he continues this interrogation into the edges of harmonicity and perception. Frequencies from bowed guitar, flute and clarinet burst away from any notion of a stable lattice to reshape our understandings of intervals and chords, and our listening is continually surprised and delighted by the 'tastes' and 'colours' that are revealed. 

The instruments dissolve into each other to create an unrecognisable timbral unity where melody emerges from harmonic clouds.
credits
released December 2, 2022 

Laura Altman - Clarinet 

Jim Denley - Flute 

Nick Ashwood - Acoustic Guitar 

Recording at Tempe jets by the group, Tuesday 14th June 2022 
Mixed by Jim Denley

Transparent Forms

SEIZURES - How To Avoid Euphoria

Created on Roland TR8s, Roland TB3, and Roland SH01A. Mixed into Roland MX-1 and recorded on Zoom H6.

Epoch

Sonya Heller: vocals and lyrics
Me: about a billion e-bowed guitars

(a random collaboration for FAWM 2023)

Lyrics:

There’s a war between realities
they’ll call the great divide
those who will reject it
those who will comply

some believe in nature
gathering face to face
some will use the planet
as a virtual interface

contaminating content 
while they plot the trickster scam
and kiss the cloven hooves
of coyote hologram

we come defending earth
against the virtual invaders
whose crafted interference
keep us tangled in the grid

we are
apocalyptic souldiers
ready at the ridge
where David meets goliath
at the foothills to the bridge


hold on, hold on
remember who you are
hold on, hold on
remember who you are
we come defending Earth
against the virtual invaders
whose crafted interference
keep us tangled in the grid


We are the diamonds of the Universe
born of Cosmic dust
Hold on or there’ll be nothing left
remember who you 
We are diamonds of the universe
hold on hold on
ah, ah, ah, yeah
ah, ah, ah, yeah
apocalyptic souldiers
apocalyptic souldiers

Apocalyptic Souldiers (ft. Sonya Heller)

Remembrance By Feel

Pièce sonore 5.1.2, 22', 2025

« Une légende raconte que deux hommes marchaient dans le désert, chacun avec un livre sous son bras. Alors que la pluie se mit à tomber fortement, l’un des deux hommes se servit de son livre pour s’abriter. Toute l’encre du livre a ruisselé sur son corps, effaçant les mots des pages et colorant sa peau en noire. Dans le même temps, l’autre homme a mis son livre sous son bras. Ce dernier a conservé ses mots et sa couleur, il a dominé celui qui a perdu les mots.»

Athar Dakira propose une plongée dans les chants des harratines, nom donné aux esclaves et affranchis dans le Sahara au Nord et à l’Ouest de l’Afrique, où des formes d’esclavage restent aujourd’hui très répandues bien qu’elles soient officiellement abolies. Scandée dans des espaces mouvants et clandestins au cœur du désert, ces chants ouvrent des intervalles pour la récupération de leurs droits, de leurs identités et de leurs histoires confisquées.

La pièce sonore Athar Dakira nous plonge dans ces récits, dont les lignes rencontrent des sons tirés d'instruments façonnés à partir de la flore saharienne. Dans cet échange entre l'humain et la plante, la terre et la voix se prolongent l'une l'autre. La composition se déploie par vagues, dans un voyage archipélique où les silences forment le récit et où les phrases dissimulent autant qu'elles révèlent.


ATHAR DAKIRA

Projet soutenu par
Le Frac Franche-Comté, Besançon
La Villa Médicis, Rome
La Fondation Louis Roederer
Direction régionale des affaires culturelles Bourgogne-Franche-Comté
Mécènes du sud - Marseille

Légende
Abdessamad El Montassir, Athar Dakia, 2025.
Pièce sonore 5.1.2, 22 minutes
Composée en collaboration avec Matthieu Guillin
Voix: Maimouna, Zoho Mint Rwijel, Cheikh Teghra.
Texte: Anja Saleh
Traduction: Gabrielle Camuset.

Athar Dakira (binaural version only for headphone)

Matthieu Guillin

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