Geduldig

Steffen Roth - Geduldig

james strong's Album

APONIA A.D. "Wind beneath a skeleton key" COR ARDENS 2022

from Martina Bertoni's forthcoming album "Hypnagogia", out on 20th january 2023 as LP / tape / DL

Hypnagogia

MARTINA BERTONI - Inversion

One track from the third release in the new SYM CD-series!
THORSTEN SOLTAU - Gewächse im Zwielicht
https://www.dronerecords.de/album.view.html?album=21322

This Friesian multi media artist with two works on one CD: his compositions combine drone-ambient and electro-acoustic elements in a wonderful (sometimes bizarre, sometimes melancholic) way, various instrumental and electronic sources are building a hypnotic web, very complex and with many unexpected twists and surprises in the mix..  this CD is like a little wonder!

"MUSIC.ART.MORPHOSIS.
A reflection.
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense able to picking up things that may slip the attention of others. My ears are trained to scan the places I visit – crowded metropoles, remote spots in nature or even familiar surroundings of office or home. My way of listening can be divided in two modes: the perception of sound on an unconscious level or the deliberate focus on sonics.

Becoming a sort of scanning antenna had a profound effect how I compose. The experience of my listening is reflected in my sound works. As an example several compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (and are therefore easy to recognize with headphones) or equalizer settings. Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.

My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception:
Repetition becomes a reward for the listener.

On sounds.

My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error during sound design.

One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces which allows for unexpected results. Some of my composing techniques are deliberately executed against their primary intention as well. This allows for an ever-morphing character of my works until the final touch is added.

On sonic morphosis.

My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. As explained above the use of complex treatments and randomness allows for a sound that constantly shapes into an liquid and organic sculpture. The sonics I create are further exposed to imperfections and errors – like body and mind aging or perishing over time.

Errors are integral and welcome. Most of them occur as a glitch in the analogue or digital domain during sessions or setup changes. They give a further layer to the music resembling small failures made by the composer – adding a human touch despite their virtual origin.

On concepts.

My solo work has always been underlined by concepts. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition as well."
https://thorstensoltau.de

THORSTEN SOLTAU - Das Begehren

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

Today, growlings and seepings, a study on guttural sounds.

GRM Development Diary 7

In the midst of a wave of hybridizing ambient, drone, folklore and experimental electroacoustic music, Roxane Métayer has gained a cult following with only a couple of releases to date. Following her debut album (Éclipse Des Ocelles) for Morc with a split EP and a limited cassette for Wabi-Sabi, Roxane now turns to Marionette with her intimate narrative based multi-instrumental recordings, a match made in the heavens if you ask us. With her violin, woodwind, voice and various effect pedals, Métayer takes the listener on a newfound journey into the ancient, medieval, and primordial.

Perl​é​e de s​è​ve is Métayer’s second full length, a sophomore to the critically acclaimed Éclipse Des Ocelles, where Métayer continues to sonically realize the map of the fictional habitats that inhabit her mind. Coming from a background of studying narration and different animation mediums, it’s no surprise that her recordings evoke vivid imagery and carry a trace of the environment they were conceived in. The instruments morph as extensions of her body and ultimately become new organs, a means of communicating these bio-memetic stories and creating a dialogue between herself and her surroundings. Meandering melodies intertwine with accompanying drones, mantra-like fragments and a handfeel percussion lend themselves as living and breathing elements in Roxane’s beguiling and spellbinding anecdotes.

Roxane is an observer of the world, her projects conceived from elements that inform her reality, such as the organic imagery and sounds of nature, then transforming that into a strangely familiar parallel universe that would not exist otherwise. Whether it's active research or taking her instruments to the forest, Métayer opens up her imagination by taking this mental journey to discover locations, creatures, and time periods then channeling that into her own fairy tales. The album and track titles act as a portal into those worlds, like chapters in a book where the protagonists are animalia, plantae, and fungi. As Métayer wrote in an interview: “Stories are a privileged way to create an awareness of a specific subject.”

About Roxane:
Roxane Métayer was born in France in 1992 and is currently based in Brussels developing herself as a multidisciplinary artist creating music, visual art, and sculptures. Métayer learnt to play the violin at a young age, and then continued her studies in Belgium at the Ecole de Recherches Graphiques, where she obtained her master’s degree in Speculative Narration, Narratives and Experiments. 

Recorded and mixed by Roxane Métayer
Mastered and cut by Noel Summerville
Artwork by Jon Joanis

Perlée de sève

Roxane Métayer - Perlée de sève (Preview)

Little Annie and @night_foundation live improv set for the Inertia record release party at Technique Records; Miami, FL 03.25.23

Little Annie meets Night Foundation LIVE @Technique Records 03.25.23

CD available directly from Imprec.com

Highly recommended to fans of Alessandro Cortini, Caterina
Barbieri, Shasta Cults

"A slow building beauty of electronic soundscapes." The Vinyl District

Alina Kalancea is a sonic alchemist who can warp and weave electronic
signals into complex tapestries of synthesized analog timbre. These
transportive environments were recorded using the artist's personal
collection of historic Buchla electronic music instruments including
Allen Strange's expanded Music Easel.
Letters Never Sent, Alina Kalancea's second full length for Imprec
follows 2021's double LP titled Impedance and is being released at the
same time as a new cassette titled Alchemy.
Kalancea's music has the ability to evoke both emotion and image;
feeling and landscape; passion and place. She described recording
Letters Never Sent as being like collecting images that are born in
your mind. Shades of sound, tone, color and feeling shape the
experience of listening to Kalancea's work.
Kalancea's work is made of malleable sonic material that never looks
or sounds the same way twice. Part of the magic of the music, and her
work is similar to ELEH in this way, is that her work leaves room for
the conscious and unconscious emotions of the listener. How you react
is partially a result of how you feel at the time.
Alchemy, Alina Kalancea's subsequent cassette being released
simultaneously, is a limited edition appendix to the album Letters
Never Sent.

Alina Kalancea - Letters Never Sent - Album Mix - CD June 23, 2023

commande CNCM Athénor, mai 2024, Saint-Nazaire

L'eau à la source

Massimo Carozzi is a sound recordist, sound designer and musician based in Bologna, Italy. Since 1994 he has looked into relations between sound and image, sound and script, sound and literature, sound and space. Massimo Carozzi has created sound design for theatre, documentaries, short films, installations. As a musician he collaborated both in studio and on stage with various musicians and sound artists such as Andrea Belfi, Stefano Pilia, Margareth Kammerer, Valerio Tricoli, Claudio Rocchetti, Starfuckers and many others. In September 2000 he founded the group ZimmerFrei whose artistic practice ranges from video art to documentary films, sound and environmental installations, as well as photography, performances, workshops and public art projects. 
Mastered by Giuseppe Ielasi.

Massimo Carozzi - Echelon

Excerpt taken from Clara de Asís -  Sans Nom Ni Forme
Pilgrim Talk 2020

Clara de Asís - De ce côté-ci (excerpt) [PT39]

Musician, programmer, researcher, teacher. GRM Member.

Out now: "Mt. Hadamard National Park", Hallow Ground (LP, Digital).
https://hallowground.bandcamp.com/album/matthias-puech-mt-hadamard-national-park

GRM Development Diary 7

Matthias Puech

Recent comments

Neutron7

Related tracks