Brulicautoma (2021)

I
II 
III 
Estonian bagpipes: Katariin Raska, Ulvi Võsa, Karolin Vetevoog, Kaisa Kuslapuu, Mari Meentalo, Kerli Kislõi
Premiere recorded by Estonian Classic Radio, 01.05.2023
Be it lines of force or a forgotten contact between the earth and our bodies, the essential point of support.. Earth veins as vital paths with oscillating and resonant intersections? 
Following the events of last February in Southern Turkey and  Western Syria, the earth once again showed also its destructive power, the effects of which are also echoed in this work.
a review by Simon Cummings: https://5against4.com/2023/05/30/estonian-music-days-2023-part-3/

Earth Veins for 6 estonian bagpipes (2023)

Premiered by sonic space basel alumni ensemble on June 25th, 2023 at Don Bosco Basel, Switzerland; commissioned by the Musik-Akademie Basel.

Mixed by Janik Pokorny.

As I laid; flesh, in a puddle of blood. - for Amplified Ensemble, Transducers, and Live Electronics

Dust and crunchy grains. A sound world of sand in the wind along a seashore, of stones falling in the silence of a mountain, 
          of glass shattering in an empty city.<br>Feeling home in different environments.<br><br>Gemina is a composition that finds its origin 
          in the homonymous project by the visual artist Federico Ferrarini. Federico asked me to curate the sound design of the video 
          trailer of the project during a period in which my sonic interest was shifting to harsher sounds and noisy environments, yet 
          without chasing a nullifying and flattening white noise. A 'just right' aggression, searching for a sound niche in between 
          the limits of 'enough' and 'too much'. Two years later, I decided to immerse myself in the same sound world, exploring it 
          for a longer piece and with some new spatialisation ideas. The piece exclusively features recorded spatialised granulations 
          of sounds of metal objects, shuttering windows, and plastic bottles, composed and filtered into my DAW of preference, posing 
          attention to sound verticality and density in space. To be tasted with high (yet safe!) sound pressure levels.

Gemina

1. Fence
2. Dear
3. Limbs
4. Scull
5. Hear

poems by Susan Howe 

Clara Barbier Serrano – soprano

Ictus Ensemble: 
Tom Pauwels – e-guit
Jean-Luc Plouvier – keys
Andrés Ruiz González – trumpet

rec: France Musique 
broadcast & portrait: https://www.radiofrance.fr/francemusique/podcasts/creation-mondiale-l-integrale/own-de-brendan-champeaux-diffusion-integrale-4299829

Own (2025) | Ictus Ensemble

Rebecca Lawrence – violone
Isaac Roth Blumfield – modular synthesizer & laptop

sound engineer – Matthias Hoch
mixing – Isaac Roth Blumfield

live improvised set performed at Parfümerie, Frankfurt am Main, from July 23, 2025
supported by BHV45 concert series, Jazz Montez, and Musikfonds

Image credit: Paul Pape

Lawrence+Roth Blumfield – live at Parfümerie

Disembodiment

for two feedback driven table-top electric guitars, feedback driven tam tam, percussions and live electronics. Edit version.

Maarten Stragier: electric guitars
Tom De Cock: percussions

Andrea Mancianti: live electronics
Sound: Patrick Delges

Developed at Centre Henri Pousseur, Liège.
Recorded Live at De Bijloke, Ghent.

Autophagy II - [Mikrophobie]

fascia (2019) for clarinet and electronics

This work situates variable elements within a fixed environment: the clarinet assumes a shapeshifting form, breathing life into the monolithic rigidity of the electronics. 

Borrowing heavily from improvisations by clarinetist and improviser, Juliette Adam, the live-performed clarinet part permits an elasticity that welcomes risk, suspense, and uncertainty. The electronic counterpart recalls malfunction and inhabits a dark, science-fiction-inspired ambience invoked by sub-bass frequencies and heavily processed recordings of machines, mechanisms, and manufactured materials. 

Uncertainty proliferates with each musical unfolding, as the clarinet is subsumed under a chorus of insistent, subterranean rumblings and mechanical stridulations intoned by a network of non-musical objects, consumer electronics, and modified instruments.

Performed by Juliette Adam at Le Centquatre-Paris on 18 June 2019. 

Presented at Festival ManiFeste hosted by the Institute of Research and Coordination in Acoustics/Music (IRCAM).

fascia | 18.06.2019 | Juliette Adam

Please use headphones or good speakers!

Midlands (2019), for Distractfold + Special Guests Mark Knoop & Ute Wassermann

Commissioned by Bludenzer Tage zeitgemäßer Musik, funded by the Ernst Von Siemens Foundation. 

A full video documentation is available: https://vimeo.com/376900084

*******
...if we strip a thing of all its disposable dimensions, we reach a state of ineffability. It is as if we could detect... at the heart of existence, something ineffable that does the job of ‘being that thing’; the receptacle of each and every name, itself standing before names. 
Federico Campagna, Technic and Magic 

1. Dreamt in Fire 
2. And Despite The Support Of Your Despair 
3. There Ain’t No Black In The Union Jack 
4. How To Build A Machine 

Midlands is many things to me. It is equally psychogeographic and biomythographic. The psychogeographic is concerned with the city of Derby, in the Midlands of the UK. 

Derby is the site of the first water-powered cotton mill, the engine of the Industrial Revolution and William Blake’s original “dark Satanic Mill”. And yet, Derby today is largely post-industrial. To gather this thread of the narrative of Midlands, I walked the 120km of the River Derwent, a river that bisects Derby and whose flow shaped our world. 

The biomythographic is concerned with my experience of growing up in Derby as Other in the 1980s. Now, in my own midlife, I wish to channel these experiences, with alchemical aims. 

Thus, finally, the outline of the territory of Midlands begins to reveal itself. It describes a literal and ineffable geography, an exterior and interior landscape. Or else, it is a ritual, undertaken to transform darkness into light. 

“How To Build A Machine” contains a sample from “Acid Test” by Gorilla (Whitby, Kersey, Cooper, Gatford), which is taken from the Extended Play EP and used with the permission of the authors. 

Special thanks to Clara Iannotta Iain Reekie. 

Distractfold Ensemble: 
Rocío Bolaños, clarinets, objects and electronics 
Daniel Brew, electric guitar 
Linda Jankowska, violin, objects and electronics 
Alice Purton, cello, objects and electronics 
Emma Richards, viola, objects, percussion and electronics 
Sam Salem, diffusion 

Commissioned by Bludenzer Tage zeitgemäßer Musik, funded by the Ernst Von Siemens Foundation. 

Guest performers: 
Mark Knoop, keyboard and accordion 
Ute Wassermann, voice 

Direction: Sam Weaver, sound engineer Emily Moore, producer

Midlands (2019), for septet+, performative electronics, tape & video

Gris souris - Sophie Delafontaine - 2017

Ardoise noire de brune
Ardoise gris souris
Ardoise bleue de lune
Satin du matin
Velours de la nuit
Ardoise éblouie

extrait de « Ardoises » de Jacques Prévert

As I laid; flesh, in a puddle of blood. - for Amplified Ensemble, Transducers, and Live Electronics

Michele Selvaggi

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