I love listening to your music when I'm taking a shower or getting ready for the evening

Your music is calming with an upbeat tempo. " I mean really" You can't help from tapping your foot

Recorded this performance on the 17th of September with a hybrid setup (hardware modular and vcv).

Modular + VCV live performance

Cautious Approach

160a2

Aesthetics Studies - Special Edition
Includes:
- Volumes 1 & 2
- 6 bonus tracks

https://awitw.bandcamp.com/album/aesthetics-studies-special-edition

Aesthetics Studies (Special Edition) 

Super Sofa 64

Performance Improvisée avec Slam
Avec les mots et effets de Blister Fleg & Robin Bonenfant

Enregistré Live à Radio Panik le 19/07/2023
dans le cadre de l'émission mensuelle de création sonore radiophonique improvisée Vide&Co : https://www.radiopanik.org/emissions/vide-co/

vide&co

Poux-Voir (Vide&Co Session feat. Robin Bonenfant & Blister Fleg)

Theta

My latest album release “Hexad” is exclusive to Soundcloud and consists of 4 tracks all related through themes/sounds and by using a maximum of 6 synthesizers (+ vox samples of me from my Octatrack). Hexad I-IV differ somewhat in mood, structure, melody & length. Slower, more downtempo vibe here as the tempo sits around 88-110 bpm. Enjoy!

Hexad II

Gloucestershire, UK based artist Andrew Heath returns to Whitelabrecs, following up on his album ‘Quiet Noise’ (2022) and collaborations with Simon McCorry ‘A Is For Autumn’ (2022) and Anne Chris Bakker ‘How To Breathe Like A Stone’ (2021). Andrew has also released music on labels including Fluid Audio, Disco Gecko, Audiobulb, Dronarivm, Shimmering Moods and more, through his solo output and collaborations with other artists.

Charting a lighter more open sound than recent albums, The Cloud Machine returns to and explores one of Andrew’s constant themes - his continuing fascination with and the depiction of, the simple innocence of his own childhood. In this case, a sound painting of light, radiance and naive joy through the metaphor of clouds and of a gaze drawn to the skies. From the ethereal beauty of The Cloud Machines and The Age of Enlightenment, to the memories of racing the shadows of clouds blown by the wind across fields as a young boy in Chasing Clouds, there is the ever present feel of blissful, innocence and wonderment at the beauty of the natural world around and above us.

The album explores these themes through Andrew’s use of his much loved piano and guitar and balancing them against constantly shifting, delicate and fragile electronic tones and textures. Using a lighter, more transparent tonal palette, The Cloud Machine has a gentle, blissful tone as though touching the drifting clouds overhead.

Written, Produced and Mastered by Andrew Heath
Artwork (Ghost Mills) by Zoë Heath
Art and Design by Andrew Heath

The Cloud Machine

wlr157 Andrew Heath - The Cloud Machine

INSTAGRAM//
www.instagram.com/rootsy_production/

SPOTIFY//
open.spotify.com/artist/5huYg2SjN…OkTFKS88Mo_2uMmg

TWITCH//
www.twitch.tv/rootsy_prod

YOUTUBE//
www.youtube.com/channel/UC1lZ6-K439TTLH4sefO-YeA

In Your Eyes

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

In the vast ocean of music, I found my voice by letting go of what others thought. Once I embraced that thought, the music flowed more naturally.

My roots lie in the diverse genres that shaped my upbringing – from the timeless rhythms of classic rock to the beats of old-school hip-hop and the ethereal sounds of electronic synth. High school choir and a love for playing guitar, keyboard, and drums further fueled my passion for creating, mixing and producing music.

Life, to me, is a song – an epic we all relate to. In those darkest times, remember, there are no coincidences, only actions and reactions.

My music is a reflection of the belief that kindness and respect are the keys to growth, akin to the steady growth of a tree. 

 I'm an advocate for embracing what you love without shame, for life itself is a song we can all connect with. A symphony that resonates with life.

🩵 Sharing the love, Thank you for following.

Thank you for the awesome mushroom cover art ❤️ @ Black Zombie, HadleyMonster13





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