Marco Lucchi : found sounds, synthesizers and piano

11 novembre 2021

https://freesound.org/people/felix.blume/sounds/117263/
https://freesound.org/people/felix.blume/sounds/117259/

To swing on a dosimeter

2021.11.12 CNSMDP, France
Ensemble Intercontemporain + DAIC du CNSMDP
Direction : Léo Margue

Clarinette : Takahiro Katayama
Clarinette Basse : Alain Billard
Trombone : Maxime Col
Percussion : Gilles Durot
Piano : Chisato Taniguchi
Violon : Jeanne-Marie Conquer
Alto : Paul-Julien Quillier
Violoncelle : Eric-Maria Couturier
Contrebasse : Nicolas Crosse

Saï-saï pour ensemble

This track is made from source material from Zoviet*France and their Hidden by the Wall project , these field recordings: Water Boatman Stridulation , Horsetail Ponds , Wind Harp , Walltown Crags ,Wire Fence & Rabbit Heugh
Shaun Robert has taken it and processed and edited into a 7’30” piece

20/4/2022

Shaun Robert & Zoviet*France - Repetitivasyllepsisinglip

Layered Textures

made in Reaper 6.68

2 x Unfiltered Audio Lion, MPE presets from scratch
1 x Physical Audio Derailer, preset from scratch

1 x Softube Modular; Vermona Random Rhythm, 4 x MI Rings, 1 x Korgasmatron
with a send to Unfiltered Audio Silo

(Plastic (Prophecies))

Claudio Ferrari: electronics - 
Bruno Gussoni: shakuhachi, ryūteki, nohkan -
Recorded live at MAIlIM  Genova, Italy, 10.12.2022

Claudio Ferrari - Bruno Gussoni live at MAIIIM

Disquiet Junto Project 0573: Float Mode
The Assignment: Add material atop a pre-existing beat to form a complete track.

I liked https://soundcloud.com/tendigits/disquiet0572-rythm-kit by Tendigits and because it seemed to be made completely "by machine" I wanted to add only things without machines/automation. 
So I improvised around five additional tracks of sounds (and tried to leave room for some variation on the original drum track by Tendigits while doing it). In this week I also had field recorded the sound of icicles that I had knocked off the corrugated roof above the bicycle stand in the inner courtyard of my flat (my wife recorded, I knocked of the icicles – they can be seen on the track cover) and somehow felt they would fit as a mysterious element (hence the title) and because there was something like ice rain I heard in the original track (maybe its just me…). Finally I felt something was missing and added a live sung/spoken session of some kind of acoustic nagging to the track, which I edited with a lot of fx and manually painted parameter curves. 
It now feels like a hit.


There is a video on instagram https://www.instagram.com/p/Cmem4hepeBb/

More on this 573rd weekly Disquiet Junto project — Float Mode (The Assignment: Add material atop a pre-existing beat to form a complete track) — at: https://disquiet.com/0573/

Project discussion takes place on https://llllllll.co/t/disquiet-junto-project-0573-float-mode/60250

Instagram video here

Icicle Hunt (by Krakenkraft & Tendigits) [disquiet0573]

Commissioned and performed by Prague Quiet Music Collective

Part of a project called 'Five Uncertain Situations' with Prague City Gallery. Exhibition and concert at Dům U kamenného zvonu (Stone Bell House), Old Town Square, Prague in December 2022.

Bass clarinet - Anna Paulová
Baritone electric guitar - Ian Mikyska
Violin - Milan Jakeš
Double bass - Luan Goncalves

Mixed by Juraj Mišejka

This piece was written in response to a set of photograms from Aleksandra Vajd’s The Thirty-Six Dramatic Situations, which features two parallel lines, each changing colour halfway. To me this work is about things in flux, things moving toward or away from something else. In my piece, I am interested in how players might focus on periods of instability and change within and between sounds. By leaving the score more open, I hope to provide more space for the players to follow their curiosity and their ears, to be responsive to the sounds and to each other in the moment. - SL

"Sylvia’s piece is a rare occurrence: a simple, relatively undefined score that does not provide instructions for formal development over the entirety of the piece, yet immediately, the first time we rehearsed it, it was clear that the piece had a clear-cut character and a complex web of internal relationships. The simplicity and directness of Vajd’s photograms is here transformed into a focus on all the chaotic and noisy shadows, interferences, and byproducts that appear when players are tasked with exploring well-chosen, fluctuating effects and various transitions between them. Here, instability is always present at multiple levels — perhaps we could even speak of an interaction between instabilities, a dusty sonic layer covering the simple material play of the photograms." - Ian Mikyska

Overlapping Transformations (2022)

Graniidi

Ulsehav

Acousmatique 4, Quadriphonie | 2019 • mix stereo

French composer born in 1991
Live & work in Paris
Contact | samir.amarouch[at]gmail[dot]com
⬇︎ More infos ⬇︎

Acousmatique 4, Quadriphonie | 2019 • mix stereo

Samir Amarouch

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