I used short snippets of a 78rpm recording of Pagan Love Song.

Faded Map

Pointillism for sine wave No.12

Apeiron Wav

Unus Mundus

When I was writing and checking this track, I felt that it sounded like some kind of creature, so I gave it this title.
What kind of creature do you imagine from this sound?
It is also a track that challenges my own "form of incorporating noise into music".

Thank you for listening!! :)

Made by Max8 and MBP Mid 2012

Imaginary Artificial Creature 1

Excerpt from the A-side of the 'Scrinj Maas' cassette, to be released in October on Monorail Trespassing.

Scrinj Maas

Tinnitustimulus - Scread (excerpt)

https://cleanerrorrecords.bandcamp.com/album/err049-faktor4-blair-fae?from=fanpub_fnb



300922

Blair Fae

Looks but Glances | for ensemble and electronics

Conducted by Thomas Nicholson 

Commande du GMEA - Centre National de Création Musicale d’Albi-Tarn
Enregistrement à l’Athanor à Albi le 6 août 2022 et mixage par Benjamin Maumus - ingénieur du son du GMEA

Mastered by Murat Çolak
Artwork by Mona Osterkamp

Looks But Glances (2022) / GMEA

2023-02-09

AWARDS:

- FIRST PRIZE DESTELLOS FOUNDATION 2019 [Argentina]
- PRIZE FESTIVAL EXHIBITRONIC 2018 [France]
- LAUREAT BANC D'ESSAI 2018 | INA-GRM [France]
- HONORARY MENTION MÉTAMORPHOSES 2018 [Belgium]
- TERESA RAMPAZZI PRIZE | ASSOCIAZIONE DI INFORMATICA MUSICALE ITALIANA | XXII CIM 2018 [Italy]

Astérion

Astérion [2018]

This piece investigates dialogs between binarisms. It explores undulations between spectrums of presence/absence, human/machine, acoustic/electronic, instrumental/recorded everyday sound as well as fragmentation/completion.

“Swarming” (2020) is an acousmatic version of my mixed media piece "Childlike only in the depth of innocence" (2019), performed by, Gökçe Göknel (voice), Amy Salsgiver (percussion), Gökhan Bağcı (cello) together with tape.

//

More information about the acoustic version "Childlike Only in The Depth Of Innocence":

On stage, there is a speaker that emits only the voice of the vocal, which stands in the middle of the stage. The instrumentalists (cello and percussion), sit on either side of the “voice”, and the stereo electronics are on an encompassing angle surrounding the performers. The voice what we can call is musically stable and consistent throughout the piece, while all the musical events are in constant flux happening (swarming) around it.

Therefore, the voice is a prominent presence on the aural domain however absent in the visual domain (as it is presented in the form of a speaker). On top of this, in the electronics section, there are samples I have pre-recorded from the players, that are played from the speakers that surround them (in a fixed media format), therefore, the notions which sound is coming from where, who is doing what on stage is questioned: The goal is to play with concepts of real/non-real, presence/non-presence by blurring clear cut boundaries.

Instruments: Voice, Percussion, Cello & Tape.

Performers:
Voice: Gökçe Göknel, 
Percussion: Amy Salsgiver, 
Cello: Gökhan Bağcı

Swarming

Appears on my album "A Dream Unfolds"
https://silentloverecords.bandcamp.com/track/when-all-seems-lost-forlorn-hope

Photo by wonderful Elseh
https://www.flickr.com/photos/187686180@N02

When All Seems Lost  (Forlorn Hope)

Rocío Cano Valiño. Composer
https://www.rociocanovalino.com/

Astérion [2018]

Rocío Cano Valiño

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