I like this a lot. Nice to hear nice stuff like this here on SC. Unique, light and cinematic from start to finish.

been there done that/coool track/some glitch/love it/ every biteNn  bit

credits:

music: @krishnamorte
picture: @Tim_lhumain

L'entre Deux Mondes

based on several tracks by Daphne Oram whose Oramics machine and composition method is nothing but incredible. this Moramics series is dedicated to her.

check www.youtube.com/watch?v=mJ08diPUv6A

Moramics Part III

Hidden Grotto (SINGLE FROM CHROMAZONES EP)

Good Jokes In Bad Places

A short voyage into the realm of Morpheus

More on this 585th weekly Disquiet Junto project, Generations (The Assignment: Fast forward an old track to make a new one), at: https://disquiet.com/0585/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0585-f9/

Disquiet Junto | F9 - disquiet0585

winter's end

With the upcoming Keith Rowe celebration in Berlin just around the corner, reflecting upon how Prepared Guitar noise crossed cultural boundaries. Pink Floyd in 66/67 a band of the London arts scene. Legend has it that Keith Rowe influenced Syd Barret to do improper things for the guitar that no other Pink Floyd guitarist cared to explore. I found this idea more plausible than Syd being stoned or aggressive -- although both artists might have found they shared a transgressive feeling for how such noises are the thang to challenge the thinking about the thang. While there's nothing in Syd's guitar sound surpassing anything Hendrix hadn't blown through several times with the vitality of ten thousand cats, it's also more complicated to think it through the Keith Rowe perspective. Hendrix's path, in my reading, was, yes, to found his own sound, gain his freedom, but also to destroy the white western exploitation culture with the rage of the slave uprising through the electrified blues and render, as a result, an American problem and treasure. In the last days, Jimi wanted to bring it back home and play deep electro-acoustic blues and rock the studio like CAN influenced by Stockhausen on shrooms. Keith's sound was already detached from folk traditions, more consciously post-modern (self-historicizing, self-contextualizing -- to lay the emotional guitar down, pushed away from the body), and few people really want to deal with that new kind of wilderness he explored in HARSH, where you see shards of what he maybe transmitted to Syd and which Jimi knew very well but never lived to take out of the rock and roll physicality context. Prepared Guitar music doesn't really exist if the guitar is not really involved, though. This track is all about those cross-over moments between the psychedelic movement and fluxus and free improv and indeterminacy. Syd was still in a rock band rooted in the Black Music of the Colonies and then they got rid of him. Noise has maybe messages beyond human aesthetic.

Syd B Keith R

Scott Curry - Piano
Dimitry Tomasov - Violin
Thilo Krigar - Cello

Premiere: 2002, Rheinsberg, Pfingstwerkstatt Neue Musik of the State Music Academy, Castle Theater
In combination with further electroacoustic movements for 8 loudspeakers, video installation and light installation
(Live recording)

Mo(u)vements for piano trio 1st movement

Atlantic Ave.

V feat Rosin Dust

lofi oddities since 2018 -- collected ambient tracks remastered for Solemn Music for Practical People, out now and among many great artists at Atlantea Records on cd, digital and Bandcamp:

Good Jokes In Bad Places

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