Contemporay Acousmatic Music

Listen Later 11.30.23

New Music (Listed) 1.2

Kokoras

Electroacoustic Music

Next up we have Bristol based vinyl collector and DJ, Jan View. 

Shake off the Monday blues and get lost in a hour of a deep mediative trip of soothing ambient.   

So as always, sit back, relax and take a load off. Enjoy. 

Tracklisting:

Meitei - Utano
Biosphere - Insolate 
DJ Paradise - Ssumo 
Ulla - Smile 
Shuttle 358 - Scrapbook 
Inhmost - Beautiful eyes
Money morning - Therah
PLO Man & C3D-E - pt. viii
Shuttle 358 - Logical
LOG - LOG 7
Ulla - Feeling remembering 
Inhmost - Morning break
ASC - Hadal zone 
Ploy - =0

Tonights Dream

Take a Trip with Jan View

version electronica de mi pieza para soprano y ensamble.
Es la version del CEPROMUSIC y la solista, la soprano Irasema terrazas

When Most I Wink Electro

EL procedimiento fue tomar la pieza de flauta y electrónica, recortar en pedacitos muy pequeños, para luego transformar cada uno de ellos y acomodarlos en el tiempo.

TONADA DE LA LUNA LLENA ELECTRO

INTERPRETA  PLURAL ENSAMBLE, MARINERO SOY DE AMOR II
para flauta, clarinete, piano, violín, viola,violonccelo
Dirige Fabián Panisello


Marinero soy de amor II

This Burning Mass - A Feast of Colours (2022) 
for Ensemble 

Commissioned for Riot Ensemble
by Britten Pears Arts for the 73rd Aldeburgh Festival 2022 
Premiere: 19th June 2022
Riot Ensemble, Aaron Holloway-Nahum
Britten Studio, Snape Maltings, Suffolk

This Burning Mass - A Feast Of Colours

Stone Age (2022) for violoncello and electronics
Total Duration 8' 40" minutes.

Ensemble Holophony Project
Preview Full Score at https://www.panayiotiskokoras.com/compositions/
Studio edited mix © Panayiotis Kokoras

2022

Stone Age [cello & electronics]

so here it is 
universal language of feelings
that we shared

a bunch of tracks 
they will always remind me of us
some may not sound so good together
like we both didnt in the end

but Im grateful
that I got to know 
the other side of them

through you 

tracklist:

01 - burial - young death
02 - skee mask - vli
03 - photay - peak bandwidth
04 - sciama - begin again
05 - nthng - touches
06 - pontiac streator - stuck in a cave
07 - alloy sea - petrichor part one
08 - syny - synoski sen
09 - quirke - suction fax
10 - kanding ray - trade on azul
11 - lord of the isles ft. ellen renton - inheritance
12 - caterina barbieri - fantas 
13 - samuel kerridge & taylor burch - transmission 1
14 - bruce - serotonin levels low
15 - flora - crush_melt
16 - donato dozzy - vaporware 07
17 - dj healer - 2 the dark
18 - leif - myrtus
19 - space afrika - uwem creation
20 - barker - paradise engineering
21 - djrum - creature, pt.1

︵‿︵‿୨♡୧‿︵‿︵ finally~lettin~you~go~mix︵‿︵‿୨♡୧‿︵‿︵

It's been a year since I uploaded my last Safe Radio episode. Damn. That was certainly not my intention. I actually had in mind to do three to four episodes a year, but it only came down to one due to various reasons [read: L I F E!]. It was a long one, though. hehe.

But here we are! FINALLY another episode in the Safe Radio series. I'm very happy and excited about the result, but moreso relieved that I already now have planned out episode two in season seven. It means that I'm on the path of doing four this year. So far at least. Hell yeah! 

This first episode of season seven includes no less than sixty nine tracks ranging from my favorite headphone music over hazy downtempo and japanese dub to no nonsense club trax. Different styles, tempos, old, new, unreleased - u name it. 

If you're still reading this long post I'd like to express my gratitude to all the people [still] supporting and listening to my stuff. It truly means a lot. Especially when I put so much energy and time into what I do. THANK YOU! 

Lastly I'd like to say that I'll be looking for shows over the coming autumn and winter. Will be posting about it in the coming weeks, but feel free to HMU if you're interested in bringing me to your club/show/event/whatever! 

Enjoy. 
xoxo c.

C.K - Safe Radio S07E01

The work is contrasting aural places of intimacy and enclosure with expansive spaces and propagates through their interaction.  The title is borrowed from a painting by René Magritte, depicting two coffins seated in a mountainous landscape. The source materials for the work have been recorded with an 18 channel microphones arrange in a globe shape, encoded in Higher Order Ambisonics. The work was completed with the support of Musiques & Recherches at the Métamorhose d'Orphée studio during in the summer of 2024. 

Par une belle fin d'apres-midi (stereo reduction)

Esaias Järnegard: Pharos for violin and ensemble. Karin Hellqvist, violin with Ensemble Gageegoo! Live in Stockholm 2015. 

Esaias Järnegard: Pharos for violin and ensemble

‘Âphâr is an Hebrew word that means “dust”.
This piece is inspired on the dream of Jacob, described in the Old Testament:
Jacob had a dream: He saw a stairway erected on the earth with its top reaching to the heavens. The angels of God were going up and coming down it and the Lord stood at its top. He said, I am the Lord, the God of your grandfather Abraham and the God of your father Isaac. I will give you and your descendants the ground you are lying on. Your descendants will be like the dust of the earth (Genesis 28).

To climb Jacob’s ladder is a very difficult process. Each step you take is harder than the previous one and takes more time and effort to accomplish. These steps are heavy, and the dust in your feet is spread around, and finally disappears. If you reach the top of the stairs, everything else is gone, and a door closes to the rest of the world, you have reached infinity.
‘Âphâr was composed at the composer’s personal studio and at the Electroacoustic Music Studio of the University of Aveiro. It received the first prize in Yamaha-Visiones Sonoras competition (Mexico) in 2007.
Also check the version with video at:
https://vimeo.com/143418505

Aphar

Back in July, Denmark's Claus Haxholm aka Assembler  released the album Quantum Paths of Desire, on the Copenhagen-based imprint Infinite Waves.
Haxholm takes his industrial-inspired, techno-oriented loose sound to lighter and brighter places, more clearly evoking house, trance and even new age music. At the same time the album draws on influence from Japanese, Korean and Chinese music as well as Haxholm’s own background in areas such as noise, drone, doom, industrial and more.  On this mix, he incorporates his influences with current favorites to produce something that is quite different from anything we've presented before.  Enjoy.

Read more, including tracklist and interview with Claus, at www.acloserlisten.com

Assembler presents  “Rearranging Mists”

#40 by Adzuki (Japan) with a live recording from Off-Tone 2015 in the area of Shosenkyo, one of Japan's most beautiful places in the mountains. 

This set contains unreleased work and upcoming tracks from Adzuki's upcoming album "Radio sounds like waves" coming soon on Shimmering Moods Records.
 
More Adzuki:
http://adzuki-music.tumblr.com/
https://soundcloud.com/kadzuki-ikegaya
More Off-Tone:
CAMP Off-Tone 2015
http://www.offtone.in/camp/

Track list
1 Radio waves　0:00〜4:00
2 88.9MHz         4:00〜9:30
3 Is this a dream or a reality?  9:30〜17:00
4 Spring   　　http://adzuki.bandcamp.com/track/spring  (A release is still undecided.) 17:00〜26:15
5 Untitled 　　26:15〜39:00
6 adzuki arai   39:00〜47:00 (A release is still undecided.)
7 Untitled        47:00〜54:37 (A release is still undecided.)

ENJOY!

SHM Podcast #40: Shosenkyo by Adzuki

This work is part of a cycle of four works related to representations of the four elements in the Old Testament. Neshamah means “breath” and is inspired in the following biblical text:
Then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature (Genesis 2:7).
This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Mexicano para la Música y las Artes Sonoras and at the Centro de Pesquisa em Música Eletroacústica of Federal University of Minas Gerais. It received an honorable mention at the Concours International de Composition Electroacoustique de Monaco 2016 and at the Destellos Competition 2016.
Also check the version with video at:
https://youtu.be/RIzLRAQ9h0M

Neshamah

Connotations (2015) for string orchestra and electronics
Total Duration 9' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Connotations [string orch & elec]

Hydatos belongs to a cycle of four pieces inspired by representations of the four elements (fire, water, earth, wind) in the Old Testament.
Hydatos is a Greek word that means “water”.
This piece is inspired on the first verses of the Old Testament (Genesis Chapter 1:2)
“And the Spirit of God moved upon the face of the waters.”
This piece was commissioned by Gulbenkian Foundation, and was composed in the composer’s personal studio and at the NOVARS Center in Manchester.It received the Second Prize at the Concours International de Composition KLANG! 2015. 
Also check the version with video at:
http://youtu.be/D87vRy5sLr0

Hydatos

This piece is inspired on the first vision of the prophet Ezechiel:  
Et vidi et ecce ventus turbinis veniebat ab aquilone et nubes magna et ignis involvens et splendor in circuitu eius et de medio eius quasi species electri id est de medio ignis (Ezechiel 1:4).
And I looked, and behold, a whirlwind came out of the north, a great cloud, and a fire unfolding itself; and a brightness was about it, and out of the midst thereof as the color of amber, out of the midst of the fire.
Et Ignis Involvens was commissioned by Gulbenkian Foundation, and was composed at the composer’s personal studio and at the University of Keele Electronic Music Studio. It received the first prize at Metamorphoses 2006 Competition (Belgium).
Also check the version with video at:
http://youtu.be/ZxJ0L0n2Q6o

Et Ignis Involvens

N'vi'ah is an Old Testament word meaning prophetess. 
A prophetess conveys one or more divine messages often in the form of inspired songs. And many times her words are cryptic, requiring interpretation or even translation. This work uses isolated phonemes as musical material. Intelligible words are not articulated, leaving to the listener the imagination of what their contents and meanings could be. N'vi'ah was commissioned by the Ibermúsicas Project, and composed at the Human Interaction Laboratory - Diego Portales University in Santiago de Chile. It is dedicated to Federico Schumacher.

N'vi'ah

Finalist in SCRIME  2008 electroacoustic composition competition.

The material for the work was developed out of simple and short sounds that
accidentally occurred in the digital studio during previous work: (clicks, pops, digital
distortion et cetera). These sounds were transformed into more organic, gestural
material using mainly the GRM Classic plug-ins in a Pro-Tools environment. The
only field recording used in the piece is the sound of crickets, used here to
establish a nocturnal soundscape. This is in contrast with the otherwise rather
abstract sound world, which exhibits timbral characteristics perceptually related to
materials such as wood, metal, water and combinations of thereof.

Resurrection

Full track available from electrocd.com
electrocd.com/en/album/5984/Niko…poulos/Micro-lieux

Selection at Bourges Electroacoustic Music Competition 2008.

For James Mooney

Greek root poly, meaning "many", and choros meaning "room" or "space".

! Warning ! You should be fairly well acquainted with the convex uniform polyhedra and their symmetry groups, and somewhat well acquainted with the six convex regular polytopes in four-dimensional space and their symmetry groups, if this material is to make any sense to you.

The work was composed during a four week residency at the surround sound studios of the Culture Lab, Newcastle University. Many thanks to everyone at the Culture Lab for their support during the making of Polychoron.

Polychoron (Stereo Reduction - Excerpt)

Breakwater (2000) for electroacoustic sounds. 
Total duration  8' 16

 © Panayiotis Kokoras

Breakwater [tape]

Response [tape]

Holophony (2003) for string quartet. 
Duration 09:40 minutes.

Ensemble Holophony
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Buy on cdbaby

Holophony [strng qrt]

Sonic Vertigo (2003) for amplified mixed vocal ensemble and electronics. 
Total duration 7' 45 minutes

Preview Full Score at www.panayiotiskokoras.com/en/works.html
© Panayiotis Kokoras

Sonic Vertigo [choir elec]

Shatter Cone [vln elec]

Morphallaxis (2008) for amplified flute, percussion, violoncello and electronics.
Duration 10' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio recording © Panayiotis Kokoras

Morphallaxis [fl perc vc elec]

Crama (2006) for flute, clarinet, piano, violin, viola and violoncello.
Duration 11' minutes.

Ensemble Holophony Project
Preview Full Score at http://www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Crama [fl cl pno vln vla vc]

Anechoic Pulse [tape]

Magic [tape]

Construct Synthesis [tape]

Panayiotis Kokoras studied composition with Yannis Ioannides, Henri Kergomard, Kosta Varotsi, and classical guitar with Evangelos Asimakopoulos in Athens, Greece. In 1999, he moved to England for postgraduate study at the University of York where he completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), Guggenheim (New York), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 1000 concerts around the world. His compositions have received 98 distinctions and prizes in international competitions and have been selected by juries in more than 350 international calls for scores. He is president of the International Confederation of Electroacoustic Music (ICEIM-ICEM) and a founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was a board member and president. Kokoras’ sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. As an educator, Kokoras has taught at the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). Currently, he is Regents Professor of Composition at the University of North Texas and director of the Center for Experimental Music and Intermedia (CEMI).