this just got recommended to me, at least the soundcloud algos are finally learning my tastes! Very nice!

@_satori: yes, this is 100% the flanging output of the WAD via the Frequency shifter back into the WAD (aux)

Mr Wilson is scuba diving and unavailable to take your call

this side of the mountain
the leaves less enthusiastic
about turning red

naviarhaiku382: this side of the mountain

0,00-0,40 : cozy bar atmosphere ; 0,24-2,08 : sea organ of Zadar ; 1,52-4,14 : traditional band playing for a wedding ; 3,32-5,37 : the locusts & the sea

Déroulé de la bande-son : 0,00-0,40 : ambiance cosy bar quartier historique ; 0,24-2,08 : orgue marin de Zadar ; 1,52-4,14 : groupe traditionnel inconnu jouant pour un mariage ; 3,32-5,37 : les cigales et la mer

thanks to the unknown band!

Zadar (Croatia), 16.07 to 19.07.2021 (montage)

Tape available via IMPREC.com

Lost amongst the overhyped hustle of the holidays is this quiet, intense and deeply personal new collection from Lambda Sond. Available on digital compact disc and analog cassette tape. 

Waglands 1921 exists in a vacuum somewhere between Pauline Oliveros, spiritual jazz, analog drone & heavy new age. Unlike the first two Lambda Sond cassettes on the Cassauna label, (2011’s Chronological Compression & 2014’s Chronological Compression II) this work is characterized by unrepeated melodies, unforgettably understated harmonies, timeless drones and feelings made musical. 

This poetic music contains vignettes of emotion, memory and melancholy that are as uplifting, hopeful and grounding as a deep breath. Waglands 1921 exists at the verge of inspiration where hesitation is withheld and truths are articulated once but felt forever.

Waglands 1921 is Lambda Sond’s first recording for IMPREC and their self titled album will be available in 2022.

Lambda Sond - Waglands 1921 - Tape - PRE-ORDER AVAILABLE

download

Munich

Mother Ivy's Cave - Sampler

Patch featuring the Serge STS Klangzeit panel. The master clock is one side of a DTG. It pings a VQVCF. The bandpass output is routed into a WAD. The flanging output of the WAD is routed into the frequency shifter via a crossfader module and then back into the AUX feedback input of the WAD. 

The DTG also triggers a sequencer and Clock-divider. The A output of the Sequencer is routed to the VC Delay of the WAD. One of the outputs of the Clock-divider samples the stepped out of a SSG, the stepped output is routed back to the VC-in of the DTG. This creates the sudden speed bumps of the pulse. One of the outputs of the clock divider is routed back via a MI Branches (build in 4U by the wonderful Loudest Warning) into the reset input of the divider. 
Another output triggers a DTG that shapes the volume of a NTO, this creates the bass drops (sine output). The NTO is FM-ed by a precision-VCO. The output of the NTO is routed via a R*S timbre section to create some extra weight to the bass drops.  The variable output of the NTO (Sine) is also routed to the WAD feedback input. I wiggle the Sine wave based sounds with the Flanger output of the WAD with a crossfader module. When selecting the NTO/Sine site the output becomes more chime-like and when choosing the WAD Flanger output (via the Frequency Shifter) the output become more ‘wooden’ and percussive.

I wiggle the frequency of the VQVCF and the frequencies of the WAD and Frequency Shifter. I also vary the speed settings of the DTG.

This patch is recorded in one take, no overdubbing. I’ve cut it down a bit to make it less boring. Tracked into ProTools via a Rupert Neve Designs 5059 and Prism AD.  Reverb (Adaptiverb) and limiting (Ozone 7) were added on the master fader.  Listen with headphones or good speakers!

Calling Mr Wilson

New Love Music is a piece for electronics and LED-lights. Its based on sounds from the cither, sinus waves and a choir of friends. 

This is just a short extract of the piece. Whole duration is about 40 minutes.

Photo taken at the premiere performance at 3hd Festival in Berlin, November 2017.

New Love Music [Extract]

I spent one day getting taxis in Beirut. I wanted to discover the tastes in music from these people who drive all day long through back roads, littles lanes and huge urban railways.
I asked the drivers to put on the stereo theirs favorites audio tapes, radio music stations or compact disks. I recorded all directly with my cellphone. That’s why the quality of the sound is really rough, but I wanted to do it very conceptual and diy. 
Indeed the mix is full of sounds; like drivers who smoke and coughing, the brakes creaking and the speech between me and some drivers.
In the same day, I stood longtime in different spots around the city recording the traffic jam and the urban noises. It will also appear in the mix during transitions. The mix contains traditional folk music, lebanese arab-pop and internationals.
This is Lebanon Carrefour : Music for Taxi Drivers

http://projectrevolver.org/features/articles/turbo-falafel-records-the-sounds-of-taxi-drivers-in-beirut/

Lebanon Carrefour - Music For Taxi Drivers

The structure of Malakosha is based on a repetitive textile weave which, on each repetition, is proportionally augmented until it is 24 measures long. Melodic patterns and change within these patterns also follow the structure of the weaving pattern. The work takes its title from the pentatonic Indian raga on which the harmony and tonal range of the music is based. Each section expands by adding more notes to the repetitive melodic patterns. Over the course of the work the role of the "noisy patterns"  develops: initially they are in the background and then gradually become part of a louder soundscape with the live instruments.

2 April 2019,  Decibel ensemble, conductor Daniele Rosina, Composer / Artistic Director / Electronics Ed Bennett, The Lab, Royal Birmingham Conservatoire.

The piece was originally commissioned by an annual contemporary music international festival ARS Musica, Belgium, Brussels, 2018.

Calling Mr Wilson

poly_mod

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