Commissioned by the town of Aalen, Germany. Premiere on Oct 18, 2025. Here in a midi version (but a quite agreeable one, I think).This piece has a strong flavour of Mirin and Shoyu, so it's best consumed with chop sticks. 

Here a beautiful video:

https://www.youtube.com/watch?v=1Vu--4XHWKw

autogenerated by sayl, Public Domain AI, prompted by 水, 色, 秋, 兎, melody, 川瀬巴水

Water Colors

Ninepin

‘plaudite, cives!’
Breaking News.
2025 two layers of live performance.

Chaotic social engineering franchise.

First layer tools :
Pam’s, Varigate.
- Basimilus.
- Mother-32 > DSP (stereo delay).
- Morphagene (voice sample) > Zagrzeb (hp out) > Desmodus Versio.
- Drum2 (space snare) > FX Aid (#24 reverb plate classic).
- Plaits (analog high-hat model).
- DFAM > Data Bender > Monsoon (oliverb mode).
Ochd, Tetrapad, Sinc Defero, Mutes.
StMix, Black stereo mixer, Listen IO.

Second layer tools :
Marbles.
- E352 > Beads.
Batumi, Ochd, Sinc Defero, Tetrapad.
Quad Vca, A-138s, StMix, Black stereo mixer, Listen IO.

Recorded, mixed and mastered with Logic Pro.

Associated image : Petrus Major.

Rule by Fear [breaking news]

From the album MITOCHONDRIAL REDOX, listen at : https://peteswinton.bandcamp.com/album/mitochondrial-redox

02 MR Two

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]

Just another little something for the project. I'll pop it right in here with the others. My kid had a pretty bad fever today but thankfully it has gone down but he was definitely lost in the frying pan for a short while. Im excellent company and hospitable to any fellow temporarily out of their mind so I made sure the little dude was comfortable while he was making it through.  Hopefully we can do Halloween tomorrow, but if not we will still have a jolly old time recovering at home. threw this together once he was finally able to get a little sleep.

Photograph of early evening in Florida visiting family.


Identifying Identity

Piano Interlude 7

nurlgwirt_01

5/4 Phantome

Cathedral ledges

Made in response to this haiku:

the harp player
moves under cover
market day

Naviar haiku challenge 618, details here: https://www.naviarrecords.com/haiku-music-challenge

I already had the field recordings I needed to frame the track, a combination of a food market in Catania Sicily and Brixton Market south west London. Recordings from this sound pack: https://www.luftrum.com/free-field-recordings Sold in aid of WWF Denmark.

I then used VCV Rack to build an evolving sequence and a self generating melody, the main elements of the track. To these I added minimal background elements also VCV to form a bridge between the sequenced elements and field recordings.  

With all the synthetic elements ready to go I mixed and assembled the field recordings that open the track, having done a "Dry run" to test my mapped physical controls and multi track recordings setup for the VCV elements I took a guess and mixed the field recordings that close the track. When I hit record and did the live mix I found I was wildly wide of the mark so while the opening and all the synth elements are as performed I'll admit to sliding the closing set of field recordings into place after the event. 

The Harp Player - (naviarhaiku - 618)

I'm primarily a visual artist both 2D and 3D, for the last decade I've operated almost exclusively in the digital 3D realm.   since the late 80s I've made periodic forays into the sonic world, MIDI sequencing, minimalism, musique concrète, found sounds  and improvisation. I am seldom happy with anything and seldom consider a piece finished.

The Harp Player - (naviarhaiku - 618)

Mr_Lamppost

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