Here is my track "Next To You" That is part of Shimmering Moods Records Meditations 10 compilation.

ENJOY :)

Next To You (Shimmering Moods Records)

full compilation https://sraunus.bandcamp.com/album/apie-pauli-epet

Viskas prasidejo Panevezy

This time I dedicated myself to elaborate a special selection of some artists that I follow their work very closely and that I admire very much since many years ago. This selection is especially dedicated to my dear and beloved girlfriend Brenda. 

I hope you enjoy this sonic moment. 

Tracklist

01 - Danny Clay - Prologue 
02 - Robert Farrugia - Variations
03 - Offthesky & The Humble Bee - Fallen Fruit To Navigate By
04 - José Soberanes - Untitled 
05 - Sacromonte & AFK - Stromboli
06 - Javier Marimon - Smog 
07 - Hotel Neon - All Is Memory
08 - José Soberanes - Sobre Tus Aguas 
09 - Leandro Fresco - Brenda
10 - Moss Covered Technology - Warm Kane
11 - The Green Kingdom -Dawn
12 - David Cordero ft. Miguel Otero - Un Drama Mundo

Just Another Special Selection - August 2022

Tracklist

01. Imprints - Trial
02. Darren Harper - Patina
03. Ambalek - Coast
04. The Humble Bee - Flakes of rust fill my palm
05. Hummingbird - Slo
06. Fields We Found - Parallels
07. Landtitles - Nightbirds and static flight
08. Moskitoo - Night Hike
09. This Valley Of Old Mountains - Yvy
10. Tomotsugu Nakamura - Library
11. Tsone - Instruments of an ecstatic cult

353. Sleepy Sunday Podcast (Elm Records)

A live stochastic experiment 
with four Crumar Spirit synthesisers,
from http://cherryaudio.com

Cosmic Spirit

try again | untitled project 001 sessions | ambient atmospheric psyche drone industrial horror WIP | shifty 10.1 w1 10 bpm take 1 82125

Recently, Moog had the honor of sitting down with Nine Inch Nails’  Trent Reznor, the genre-defining music innovator, master synthesist and Academy Award winning composer. In the interview, Reznor recounts his intimate relationship with the Minimoog Voyager, which he feels “is the archetype of what a synthesizer is and should be.” Through personal stories, Reznor reveals his decades long history with the instrument and how it has shaped the way he views and creates music. 

The video is set to an original score by British electronic music producer, The Haxan Cloak, co-producer of Bjork’s Vulnicura.. Befitting the occasion, the artist used a Minimoog Voyager and a prototype Mother-32, Moog’s newest synthesizer, to create the score. 

"I made the track in a unique way that I never have before.

I have had modular synths for a long time, and consistently produced music with them, but purposefully never had a ‘keyboard-based’ setup because of not wanting to treat them in such a ‘traditional’ manner (purely for reasons of self-limitation).

Having the Voyager allowed me to utilize a more responsive approach of seeing the picture and essentially ‘playing’ along to it. I then took those results and used them to modulate other parameters and processed them further. The Mother 32 was used extensively as a sound source alongside also.

The Voyager is a synth I have always been fascinated by, but unfortunately never had the opportunity to own. I knew people that had them, but my first physical encounter was actually on the recent Bjork tour.  I used it for a lot for recreating basslines from her back catalogue, which it did effortlessly.
It’s such an incredibly versatile synth and has already become a uniquely indispensable backbone of my studio." - The Haxan Cloak

Archetype Of A Synthesizer - The Haxan Cloak

this mix was recorded on the 24th of october 2015 as part of the "av picknick"-evening before the amazing live-concert of "a winged victory for the sullen" at the "effata!"-church (münster, germany). nice memories ... and my very own record release-party for the bersarin quartett "III"-album — enjoy! :)
—
▌HOTEL NEON -- Dust and Drag (Home Normal) → 00:00
▌BURIAL -- Night Bus (Hyperdub) → 02:51
▌AROVANE -- Scapen Te (DIN) → 04:31
▌BENOIT PIOULARD -- Upon The Break Arch (Kranky) → 05:11
▌BERSARIN QUARTETT -- Die Nächte sind erfüllt von Maskenfesten (Denovali) → 09:22
▌REMOTE -- No.2 (Worm Interface) → 14:05
▌TIM HECKER -- Harmony In Blue (Kranky) → 18:24
▌BERSARIN QUARTETT -- Verflossen ist das Gold der Tage (Denovali) → 20:04
▌JEAN-MICHEL JARRE -- Waiting For Cousteau (Disque Dreyfus) → 23:09
▌JEAN-MICHEL -- Carrer de L’Aurora (onpa)))))) → 25:30
▌PJUSK -- Kram (Glacial Movement Records) → 32:10
▌BERSARIN QUARTETT -- Es ist alles schon gesagt (Denovali) → 37:01
▌FLUXION -- Subliminal Tone (Chain Reaction) → 40:21
▌OVAL -- Do While (Mille Plateaux) → 48:08
▌ANDREA BELFI -- Roteano (Miasmah) → 53:55
59:59
—
event-pictures: http://tinyurl.com/pwgfzj8 
—

AV PICKNICK: JEAN-MICHEL [Bersarin Quartett, Ambient-DJ Set]

Donato Dozzy remix of Fiona Brice's 'Berlin' - which features on the new album 'Postcards From' released 3rd June via Bella Union.

Fiona Brice 
http://fionabrice.com/  
https://www.facebook.com/FionaBriceMusic/
https://www.instagram.com/fionabrice/

Donato Dozzy 
https://www.facebook.com/donatodozzy/
https://twitter.com/donatodozzy




Postcard Reframes

Fiona Brice - Berlin (Donato Dozzy Montecirceo Remix)

third release so that you remember*

mastering - mmcm.ru

Where There Is Silence Ep

Heavenchord & Amanita Phalloides - Stars

Excerpt from a release with Longform Editions. Listen/purchase the full track here https://longformeditions.bandcamp.com/track/immaterial

// 
Earlier this year I spent a two-month period on residency in Hong Kong. I was instantly drawn to the colour and vibrancy of the city, as well as to certain materials and objects that kept reappearing on my explorations.

Billowy, gauzy construction cloth that covered spiny bamboo scaffolding, the devastatingly-inviting colourful-sheen of single-use plastics, discarded durian husks, the deep blue night-time sky made hazy/dreamy/luminous from neon lighting, lush and vibrant green foliage…

I was thinking about the small variations in the repetition of these materials, as well as the repetition of certain images and sounds.

The phasing on/off flash of orange construction lights lining long stretches of road; the rhythmic phasing of multiple pedestrian crossing beeps heard simultaneously. the overhead circling of the kites (seabirds) in the sky; the below-water circling of plastic bags in the harbour.

For a little while now I’ve been cultivating an obsession with the relationships between sound, material/object and texture. How feeling can inform listening, how listening is feeling, and how this felt-listening can alter our perception of things as we are taught to ‘know’ them. For me listening is acknowledging the intrinsic connections between our surroundings and ourselves.

If we acknowledge the vibrancy and resonance of everyday objects how might this change our actions and thinking around them.

"My hunch is that the image of dead or thoroughly instrumentalised matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies." Jane Bennett in Vibrant Matter

It occurred to me, whilst writing this and listening back, that not only are materials amplified in Immaterial but certain sounds appear almost material in themselves, such as the squeak of shoes on basketball courts, and the droplets of rain on foliage. These sounds seem not to belong to shoe or court, rain or leaf, but are formed in the entwining to become a thing in themselves. It is this connectedness through sound that I am fascinated with. Through sound unequal forms can be connected: mic distortion disguises itself as crinkling plastic bags that blends into the crackling sound of shrimp underwater.

Sound waves traverse through our bodies and our surroundings, forming knots and vibrations and connections and confusions. In sound material blends with the immaterial and new imaginaries can be made, for me this is a way out.

Immaterial was composed in parallel to these thoughts.
Like silky-soft milky tea tasted alongside a crispy-sweet pineapple bun.
//

All sounds heard on Immaterial (excepting one recording of clarinet) were recorded in Hong Kong between April and June 2019.
Composed, performed, recorded and mixed by Alexandra Spence
Additional percussion by Karen Yu
Mastered by A.F. Jones at Laminal Audio

Archetype Of A Synthesizer - The Haxan Cloak

moog music