Excited to share my second single on Blurred Recordings, a nocturnal journey through a strange city at night. Trepidation turns to hope and excitement as new experiences await the nocturnal pedestrian.

ODESSA 4AM

Odessa 4am

Tekstura is a series of instrumental piano compositions coloured with textures.

With the aim of combining melody and sonic texture deriving solely from the piano, the project started life as an investigation into sustaining tones using electronic bows on the piano strings.

From these early experiments it expanded organically to incorporate a wider musical palette.

Three singles The Noise He Kept So Quiet, Ostranenie and Prelude in E minor were digitally released in 2020.

The album, Tekstura, will be released in 2021 through London based label Blurred Recordings.

Reflective and intimate in nature Piano Tekstura takes inspiration from the piano itself, the urban environment and early cinema.

Alice Allen: cello
 Fiona Brice: vioilin & viola
 Scott Twynholm: piano, organ, accordion, guitars, percussion & electronics

Blurred Recordings 2021

Cold Open

This is a walk through Glasgow and into other places, for a fragile city in a precarious time, towards hope.

Written and performed by Laura Bissell and David Overend
Sound by Matthew Whiteside

Funding from Edinburgh Futures Institute

Hope Street Walk

Audio from The Karmic Laws live set at Bralitz 10th September 2022

A Drock Production, Bralitz 2022

Live In Bralitz September 2022

How long?

We are all the same 2 - 06:01:2024, 17.37

Sonic interpretation of the narrative archetype of the hero's journey.

Heldenreise: A Hero's Audeal.

A composition inspired by bells and ringing methods using field recordings and sound shaping.

1342(5)

Scott Twynholm’s Waltzer EP evokes a nostalgia for a forgotten future. Or perhaps it is a soundtrack to the memory of an alternative past. For this evocative and beautiful suite, Twynholm has taken inspiration not only from electronic music, but from Brahms, Morricone and Shostakovich, and places the mercurial sounds of modern technology in an orchestral setting.

The four instrumental tracks – The Digital Fairground, Waltz 3, Waltz of the Noctambulist and Fairground Reprise – are result of Twynholm returning to the study of classical and romantic piano repertoire, his enduring love of movie music, mixed with his skills within the world of electronica and contemporary sound.

The compositions ring with acoustic instruments textured with subtle electronics taking their cue from Brahms Op 39 and Shostakovich’s suites for Jazz Orchestra. Twynholm says: “The EP plays with the idea of how composers of the pre-electronic age might have made use of an electronics section of the orchestra, not how those composers would write now, or how they would make use of modern technology, but rather, how they would make use of the distinct electronic sound quality as a texture.” With this EP Twynholm has imagined an alternative musical world.

Drums - Stuart Brown
Cello - Laura Durrant 
Violin - James Devlin
Double Bass - Neil Cameron
Bass guitar - Biggi Hilmars
Vocals - Joanna Finnigan

Waltz #3

scotttwynholm

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