Becoming

Personal dark ambient approach to "Wonderful World", original L. Armstrong 1967 (remixed and extended version of an older VSS track). Electric guitar, percussion, effect pedals, voice, unsynchronized loops, two tube amps and a lot of time manipulation. Field recording: electromagnetic waves made audible with Soma Ether. All sounds, voice, mixing and production: Velvet Something Superdark. Image: inside a shop-window in Berlin Neukölln (photo VSS).
Please listen to part 2 as well: https://soundcloud.com/velvetsomethingsuperdark/wonderful-wasted-world-part-2

Wonderful Wasted World, Part 1

The only sound source here is my stratocaster with signal splitted to acoustic guitar soundhole magnetic pickup (which I played with my right hand as a pick/slide/ebow). Both signals went through Boss Line Selector, then some fuzz and for a short time my old Yamaha octaver. Last on the signal chain was Warm Audio Ring modulator which was mainly off. 

I composed a piece which has overlayered 1-3 tracks simultaniously. No post effects in DAW. For percussive parts and coda I played the springs of vibrato system. Those I miked with this magnetic acoustic guitar pickup.

The Burning Curiosity

Assemblage

A grande indiferença das estrelas

etrobril

lirbefyl

I LOVE creaky floorboards. ❤️ Always have. They’re the little confessions the world doesn’t know it’s making. How could it?

This particular set — oh, these sonic beauties — were discovered in a small museum in Lille, France. A place so very quiet you could almost hear the air move somehow. The curator said the building used to be a tailor’s shop. But the neighbours reckoned it had been an intelligence post during the war; the kind of place where secrets secreted themselves into the grain of the wood.

So I waited until closing time. Set up my recorder. And walked. Slowly.

Every step had its own personality — one a whisper, one a sigh, one a shriek like a door … perhaps remembering something it shouldn’t. Somewhere between the third and fourth creak, though, the air changed and tilted weirdly. You know that cold, coiled feeling — when you’re not sure if you’ve just been noticed by someone? But I was alone ... I WAS alone.

I kept recording.

Later, when I played the sounds back, there it was: a super faint shuffle beneath and between the creaks. A pause. Then two extra footsteps … that weren’t mine. Perfect rhythm. Perfect distance. Like a partner in a dance waiting years for the next cue, which had now arrived, years later.

So I built the track around that. A haunted duet between spy and spectre, each trying to decode the other’s silence.

Enjoy … if you dare. 🎃😈

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

more halF unusuaL

halF spooK [disquiet0722]

You Cannot Call It Jazz

Part 1 of Metalwork - A series of 4-hand-improvisations for broken music box, acoustic thunder-drums, ping-pong ball, different household objects and voice. Recorded live with Zoom H2N in 4 channel stereo, cut and amplified, no effects, no further processing.
https://soundcloud.com/snow_omen/sets/metalworks

Metalwork Nr. 1

'Arc of divine cacophony'. Premiered on 21 September 2016 by Automatronic at the Hexham Abbey Festival of Music & Arts. Subsequently performed at the Canterbury Festival 2016, North York Moors Chamber Music Festival 2017, St. James United Church Montréal 2019, Ypres Cathedral 2019 and broadcast a number of times on Resonance.fm (UK), Radio Onda Rossa (Italy) and Concertzender (NL).

CELESTIAL OBJECTS (2016)

Musician based in Edinburgh & Amsterdam. 
https://eighthtowerrecords.bandcamp.com/album/in-tenebris-ratione-organi
https://cantimagnetici.bandcamp.com/album/darenth
www.FireheadEditions.com
https://britishmusiccollection.org.uk/composer/michael-bonaventure 
www.scottishmusiccentre.com/michael-bonaventure

CELESTIAL OBJECTS (2016)

Michael Bonaventure