Loop555

The shape of this piece emerges gradually, at first several independent micro-sounds appear and are gathered at a slow pace, in order to then become organized and create musical phrases. Through these phrases various polyrhythms emerge which in turn are increased and eventually create a unified sound mass. The energy of this mass creates tension so that it becomes more and more dense until it reaches its peak and release. It will then weaken by gradually subtracting its density and organization of its individual elements until we reach the end and the initial silence. The evolution of this piece could be explained very simply with a shape of a triangle, although we will see that there are important events within this piece that break its seemingly linear evolution and dramatically affect the listener's anticipation.

Scala

Granular Hole

The Librarian

This work is dedicated to Annette Vande Gorne and Musique et Recherches.

A series of memories interrupt, overlap and flow into one another on a summer's day.

This piece is made exclusively from field-recordings taken in Brussels and Ohain in July 2011 and was begun at the studios of M&R and completed in the composer's own studio.

The creation of this piece was supported by the PRS Foundation and the Bliss Trust.

The Sun Warms The Memory (2011)

I wanted to work exclusively with vocal sounds, but to try to ignore entirely such things as words and sentences. Instead I decided to concentrate on ways in which the human voice communicates without recourse to the intricacies of language. I wanted to dig down to the deepest level and lay bare a universal language of squeaks and grunts, which might communicate emotion in the most direct manner, with as few civilising niceties as possible!

I had two primary influences: The first was that of various Dada writers/performers, in particular Kurt Schwitters. Some of the vocal patterns that I used as my source material were based on quotations from Schwitters’ Ursonate, which was a particularly strong influence.

The second was that of early animated cartoons, such as those of Tex Avery. I wanted to make something that had the same kind of manic and visceral energy as an Avery cartoon, the crude caricature and capricious, free-form narrative, and, of course, the humour.

In the composition of the piece, I also concentrated very much on abstract ‘musical’ parameters, in particular rhythm. In this, I was also inspired by the rhythmic patterning of Ursonate, but took such patterning a stage further using basic Stravinsky-esque cell techniques.

Vox mecanix

Baltazars Adventure Through The Great Machine - Excerpt

The inspiration for this piece came from the sounds of nature in combination with those of modern industrial society. Along with these, sounds of musical instruments were also used. Particularly, percussive sound-shapes are combined with buzz-like ones chosen from original sound material recorded near beehives. The form of the project evolved along with the composition of the piece and its development is based on the characteristic morphologies of these sounds. The piece is constructed as a multi-layered sound environment on which intense sonic gestures are developed.

                                                         Awards
-Prize, 12th International Electroacoustic Composition Competition Música Viva 2011(Miso Music, Portugal) 
-Gianfranco Maffina Mention,  Luigi Russolo International Sound Art Competition (France, 2012).

Sting [2011]

Works from Sound Junction Live.
Rick Nance – Tearing up (2020, Stereo) – WP - (complete)
Julia Schauerman –  MetalWorks (14:17, 2020, stereo) – WP (complete)
Louise Rossiter – The Iris-Key (8:45, 2020, stereo) – WP (excerpt from opening: visit http://louiserossiter.com/ for more and purchase) 
Mario Cáceres – Muddle (9:44, 2020, stereo) – WP (complete)
Dale Jonathan Perkins & Michael Brown – Equipoise (parts 1- 3, 18:14, 2020, AudioVisual) – WP (excerpt sampler: visit https://dalejonathanperkins.bandcamp.com/ for more and purchase)

The Iris Key Opening Excerpt Louise Rossiter

L’œuvre a été commandée par Radio France pour l’émission « Création Mondiale » (ex Alla Breve) le 9 février 2020 et a été réalisée dans le studio du Groupe de Recherches Musicales (GRM) à Paris France. La pièce a eu sa création publique le 14 février 2020 au Festival Présences 2020 à la Maison de la Radio (Paris)

Portrait de la compositrice : France Musique 
https://www.francemusique.fr/emissions/creation-mondiale-l-integrale/okno-de-rocio-cano-valino-diffusion-integrale-et-portrait-de-la-compositrice-80441

- MUSICWORKS 2020 | First prize in Electronic Music [Canada]
- Marcelle Deschênes Prize 2020 [Canada]
- PRIX KLANG! 2021 | Second prize [France]

(Excerpt) Okno [2020]

"Quarks" are considered basic types of elementary particles that make up matter. Micro sounds are the basic genome of this work in an attempt to “decode” the ongoings and interactions of those fundamental constituent of matter. Crackling, noisy, melodic sounds are combined to recreate new sound patterns. All together they branch out to bigger sound materials. The outcome: an imaginary sound environment of moving particles filled with pulsed activity, sonic gestures, granular textures and swift cut-aways.
"Quarks" was selected in CALL FOR WORKS 2021 by Empirica, performed during the first edition of REF - Resilience Festival and published in the album “FIXED.wav 2021” distributed by Empirica | MID SIDE Aps. https://spoti.fi/3fL8Ejo

Scala

Nikos Kanelakis

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