/ 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)

A-laise is a Tuckey production solo project. “A-laise” is derived from the French word “alaise,” signifying comfort. A-laise, an accomplished artist and musician, delivers original tracks with a smooth, mellow, and upbeat sound. These tunes are designed to soothe and relax, providing a pleasant backdrop or more, tailored to your personal preferences.

Industrialistic hardware techno & mechanized soundscapes

towards apotheosis on the left hand path.this machine is heavy and filthy
raw and ruthless.for concentration and disorientation.exploring spiritual depths and unlock unexplored mysteries of the mind. there are tree sides to every story and not one of them is true.bend your mind and set your spirit adrift. hypermeditation

1/2 @stelariumrecords

contact: vidsutnist@web.de

next:
30 03 pracht
03 04 elipamanoke

Songs from the edge of somewhere.
You don’t know if you’re walking into a protest, a party, or a funeral.
Bluesy, soulful rock’n’roll.
Haunted, deep and raw. 
The kind of raw you can’t fake.

“You don’t sound like anyone else,” said Danny Thompson - legendary bassist for Nick Drake and Joe Strummer - about English producer Conil.

Tchad Blake, sonic architect for Tom Waits and Elvis Costello, agreed: “Strange Part of the Country is an amazing album. I still listen to it.”

Fleetwood Mac’s Peter Green was also a fan, making a rare visit to Conil’s studio to record a mellow take on “Woke Up Around Midnight,” his smoky tribute to the jazz greats.

Conil’s distinct sound has drawn praise from Marc Ribot, Davey Graham, Pino Palladino, and John Leckie - artists and producers known for recognising the real thing when they hear it.

Upon release, Strange Part of the Country made quiet but lasting waves. Q Magazine gave it four stars and a Q Recommends stamp. Blues Matters Magazine put Conil on the cover, calling him “one of the most original artists out there.” In the U.S., “Years Between” climbed to number three on the Alternative Radio Chart.

Raised in England on the Rolling Stones, the Velvet Underground, and Tom Waits, Conil later lived in some of the world’s most musically charged cities - New Orleans, New York, Chicago, Austin and Berlin - chasing sound wherever he went.

That began early. He travelled far, met the Dalai Lama, climbed Kilimanjaro, and crossed the Himalayas - experiences that shaped his perspective and his music.

He is now finishing his long-awaited second album - recorded in New Orleans, Chicago, London and Greece - with Danny Thompson, Tchad Blake and more.

Electronic Musician | Abstract Artist 

https://musics.to/felipedevicente

Felipe De Vicente is a visionary of experimental electronic music, blending technology, emotion, and a wide range of styles. His sound spans genres such as house, techno, downtempo, ambient, IDM, minimal, drum and bass, drone music, etc, mainly exploring the combination of sound textures, creating immersive and dynamic soundscapes.

Felipe’s compositions explore atmospheric sounds, drones, and effects that create depth and movement. He uses synthesizers and sound manipulation to evoke introspection and energy, balancing the experimental with the accessible.

By blending fragmented rhythms with dance grooves, Felipe creates an engaging sonic experience. His beats may be asymmetric and glitchy or pulsating and hypnotic, smoothly transitioning between the abstract and the functional.

Felipe embraces silence and space, using them as active elements in his compositions, creating moments of tension and release that enhance the listening experience. This balance reflects his visual art’s aesthetic sensibility.

As a visual artist too, music and image are inseparable for Felipe. His tones translate the colors and shapes of his visual works, capturing their sonic essence. This unique connection makes each track a multimedia experience, linking the listener to a profound sensory narrative.

Influenced by electronic pioneers like Ryuichi Sakamoto, Kraftwerk, Autechre and   Alva Noto, Felipe combines tradition with innovation, inviting audiences to explore a universe where sound and image coexist in vibrant harmony. 

I create atmospheric soundtracks for indie games, blending rock, electronic, and ambient styles.

I have been involved in music as a hobby for many years. I composed, performed, and recorded music with various bands as a bass guitarist. I also worked on my own musical projects. I recently entered the gaming industry and discovered that the world of game music has its own peculiarities and is quite different from everything I did before.

I'm open to collaboration. If you're in need of a memorable soundtrack for your game, don't hesitate to get in touch with me: nikita.s.melnikov@gmail.com

SCRAP BLASTER  
WELCOME TO THE SCRAP VAULT  
CHOPSHOP.INIT >> ∴

— nobody read this.
Experimental sound sculptor. Daily raw loops & ambient sketches from the Scrap Vault. Imperfection with purpose. Hit me for stems, kits, collabs.
i’m working on a loop/drum kit with ~15k sounds  
my songs are full of [█ █ █ █ █ █ █ █ █ █ █]
i make  
to ke  
and don'tove anything to leave "keer gens  
cross-ref with my ∴

Wanna usag me! :v  
Imperpurpose.  
Please "love" music  
HELP THE BEES

---

"If there's only perfection,  
why settle for less?"  
Perfection is sterile. The signal needs static.  
¯\_(ツ)_/¯  
ORDER IS A LIE BUILT ON REPETITION.  
WE BUILD CHAOS.  
BECAUSE LESS MAKES IT BLEED.

merch on website.  
save the BEES!!!  
ITOP  
WSFL?

SESH.

°°°°°°°°°°°°°°°°°°°°°°°[All inspiration] 
___________________________________
Sound experiments. The study of sound synthesis. I use vst plugin Harmor. I plan to create libraries of sounds for various synthesizers in the near future.
________________________
Grateful for any support!
________________________

Yoshimayo’s music is characterized by a dreamy, experimental, and introspective fusion, blending soft electronic sounds with acoustic and organic elements. Although he remains relatively under the radar in mainstream circuits, what makes his music unique can be described through several dimensions:

🎼 Musical Characteristics of Yoshimayo:
Delicate and deep sound textures:
He creates highly immersive atmospheres, sometimes bordering on ambient music or electronic post-rock. The sound layers evolve slowly, producing an almost cinematic effect.

Emotional minimalism:
Few elements are enough to express a great deal. His music plays with the unsaid, with space and silence, often evoking an inner poetry.

Fragile and nostalgic melodies:
Melodic lines are often simple, almost childlike, yet always tinged with subtle melancholy. They evoke memories, daydreams, or meditative states.

Organic-electronic fusion:
Yoshimayo manages to blend synthetic elements (pads, drones, glitches) with classical instruments (piano, strings, soft percussion) without sounding artificial.

DIY / artisanal aesthetic:
The production sometimes intentionally sounds "handmade," yet with great care. This brings an authenticity that contrasts with the industrial standards of electronic music.

✨ What Makes Yoshimayo Unique:
A sonic identity that is recognizable within the first few seconds, without being showy.

An ability to evoke gentle, intimate, and contemplative emotions, far from mainstream conventions.

A rejection of the spectacular, which gives his music a quiet strength.

A coherent artistic direction, often accompanied by minimalist and poetic visuals.

https://www.instagram.com/yoshimayo317/

ᴀ ᴄᴏᴍᴘᴏsᴇʀ, ᴀ sᴏᴜɴᴅ ᴀʀᴛɪsᴛ & ᴀ ɢʀᴀᴘʜɪᴄ ᴅᴇsɪɢɴᴇʀ ʙᴏʀɴ ɪɴ 1990 ɪɴ Kʀᴀᴋᴏ́ᴡ, Pᴏʟᴀɴᴅ.

//      Hɪs ᴍᴀɪɴ ꜰᴏᴄᴜs ʟɪᴇs ᴏɴ xᴇɴʜᴀʀᴍᴏɴʏ ᴀɴᴅ ɴᴇᴜʀᴏæsᴛʜᴇᴛɪᴄs ɪᴍᴘʟɪᴇᴅ ɪɴ ɴᴇᴡ ɪɴsᴛʀᴜᴍᴇɴᴛs ᴅᴇsɪɢɴ & ᴄᴏɴsᴛʀᴜᴄᴛɪᴏɴ, ᴀs ᴡᴇʟʟ ᴀs ʙᴜɪʟᴅɪɴɢ sᴏᴜɴᴅ ɪɴsᴛᴀʟʟᴀᴛɪᴏɴs. Sᴛʀᴢᴇʟᴇᴄ ɪs ᴀ ғᴏʟʟᴏᴡᴇʀ ᴏꜰ ᴀɴᴛɪ-ᴀɴᴛʜʀᴏᴘᴏᴄᴇɴᴛʀɪᴄ, ᴘᴏsᴛʜᴜᴍᴀɴ sᴜʙᴊᴇᴄᴛɪᴠɪᴛʏ ᴛʜᴇᴏʀʏ ᴡʜɪᴄʜ sᴛᴀʏs ɪɴ ᴀᴄᴄᴏʀᴅᴀɴᴄᴇ ᴡɪᴛʜ ʜɪs « ɴᴏ-ᴍᴇᴀɴɪɴɢ-ʙᴜᴛ-ɪɴ-ʀᴇsᴏɴᴀɴᴄᴇ » ʀᴜʟᴇ.

//      Iɴ 2017, ᴅᴜʀɪɴɢ ROSTRUM+ ᴄᴏᴍᴘᴇᴛɪᴛɪᴏɴ (ʜᴇʟᴅ ɪɴ Pᴀʟᴇʀᴍᴏ, Iᴛᴀʟʏ) ʜɪs « L’Aᴛᴇʟɪᴇʀ ᴅᴇ sᴇɴsᴏʀɪᴛᴇ́ » ᴡᴀs ʀᴀᴛᴇᴅ sᴇᴄᴏɴᴅ ʙᴇsᴛ ʙʏ 29 ɴᴀᴛɪᴏɴᴀʟ ʀᴀᴅɪᴏ ɴᴇᴛᴡᴏʀᴋs ғʀᴏᴍ 4 ᴄᴏɴᴛɪɴᴇɴᴛs, ᴛʜᴜs ᴡɪɴɴɪɴɢ ᴀ ʀᴇᴄᴏᴍᴍᴇɴᴅᴀᴛɪᴏɴ ᴏғ ᴛʜᴇ Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ Rᴏsᴛʀᴜᴍ ᴏғ Cᴏᴍᴘᴏsᴇʀs (ᴄᴀᴛᴇɢᴏʀʏ ғᴏʀ ᴀʀᴛɪsᴛs ᴜɴᴅᴇʀ 30 ʏᴇᴀʀs ᴏʟᴅ). Tʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴀʟsᴏ ᴍᴀᴅᴇ ɪᴛ ᴛᴏ ᴛʜᴇ ᴛᴏᴘ ᴛʜʀᴇᴇ ᴏɴ ᴛʜᴇ ᴀɴɴᴜᴀʟ ᴄʜᴀʀᴛ ᴏғ ᴛʜᴇ ᴍᴏsᴛ ɪɴᴛᴇʀᴇsᴛɪɴɢ ᴄᴏɴᴛᴇᴍᴘᴏʀᴀʀʏ ᴘɪᴇᴄᴇs ᴀᴄᴄᴏʀᴅɪɴɢ ᴛᴏ Dᴀɴᴍᴀʀᴋs Rᴀᴅɪᴏ Kʟᴀssɪsᴋ. 

//     Sɪɴᴄᴇ 2012, STRZ's ᴡᴏʀᴋs ʜᴀᴠᴇ ʙᴇᴇɴ ᴘᴇʀғᴏʀᴍᴇᴅ ʙʏ ᴇɴsᴇᴍʙʟᴇs ғʀᴏᴍ Bᴇʟɢɪᴜᴍ, Dᴇɴᴍᴀʀᴋ, Fʀᴀɴᴄᴇ, Gᴇʀᴍᴀɴʏ, Iᴛᴀʟʏ, ᴛʜᴇ Nᴇᴛʜᴇʀʟᴀɴᴅs, Pᴏʟᴀɴᴅ, Sᴘᴀɪɴ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, Uᴋʀᴀɪɴᴇ ᴀɴᴅ ᴛʜᴇ USA — ᴅᴜʀɪɴɢ ᴍᴀɴʏ ʀᴇɴᴏᴡɴᴇᴅ ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ꜰᴇsᴛɪᴠᴀʟs sᴜᴄʜ ᴀs:

• Wᴀʀsᴀᴡ Aᴜᴛᴜᴍɴ (Pᴏʟᴀɴᴅ, 2014, 2015, 2017),

• CIME / ICEM ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ ᴍᴜsɪᴄ ғᴇsᴛɪᴠᴀʟ & ᴄᴏɴғᴇʀᴇɴᴄᴇ ɪɴ Dᴇɴᴛᴏɴ (Tᴇxᴀs, USA, 2014),

• Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇʀ Mᴜsɪᴋᴛᴀɢᴇ: NEXT GENERATION ᴘʀᴏɢʀᴀᴍᴍᴇ (Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇɴ, Gᴇʀᴍᴀɴʏ, 2014), 

• JIMEC — Lᴇs Jᴏᴜʀɴᴇ́ᴇs Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟᴇs ᴅᴇ ʟᴀ Mᴜsɪǫᴜᴇ Éʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪǫᴜᴇ ᴇᴛ ᴅᴇ ʟᴀ Cʀᴇ́ᴀᴛɪᴠɪᴛᴇ́ (Aᴍɪᴇɴs, Fʀᴀɴᴄᴇ, 2015),

• Mᴜsɪᴄᴀ Pᴏʟᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016),

• TAURON Mᴜsɪᴄᴀ Eʟᴇᴄᴛʀᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016, 2019),

• Yᴏᴜɴɢ Cᴏᴍᴘᴏsᴇʀs Mᴇᴇᴛɪɴɢ (Aᴘᴇʟᴅᴏᴏʀɴ, Nᴇᴛʜᴇʀʟᴀɴᴅs, 2017),

• Mᴜ́sɪᴄᴀ ᴇ ᴀʀᴛᴇ: ᴄᴏʀʀᴇsᴘᴏɴᴅᴇɴᴄɪᴀs sᴏɴᴏʀᴀs (Sᴀɴᴛɪᴀɢᴏ ᴅᴇ Cᴏᴍᴘᴏsᴛᴇʟᴀ, Sᴘᴀɪɴ, 2017)

• Cᴏᴍᴘᴏsᴇʀ Cᴏʟʟɪᴅᴇʀ 2018 ᴡɪᴛʜ ᴇɴsᴇᴍʙʟᴇ ᴍᴜsɪᴋFᴀʙʀɪᴋ ᴘʟᴀʏɪɴɢ Hᴀʀʀʏ Pᴀʀᴛᴄʜ ɪɴsᴛʀᴜᴍᴇɴᴛs (Kᴏ̈ʟɴ, Gᴇʀᴍᴀɴʏ, 2018), 

• CODES: Fᴇsᴛɪᴠᴀʟ ᴏғ Tʀᴀᴅɪᴛɪᴏɴᴀʟ ᴀɴᴅ Aᴠᴀɴᴛ-ɢᴀʀᴅᴇ Mᴜsɪᴄ (Lᴜʙʟɪɴ, Pᴏʟᴀɴᴅ, 2018),

• BEM18 (Bʀᴜssᴇʟs Eʟᴇᴄᴛʀᴏɴɪᴄ Mᴀʀᴀᴛʜᴏɴ 2018, Bᴇʟɢɪᴜᴍ),

• Fᴇsᴛɪᴠᴀʟ Mɪᴋʀᴏᴛᴏ̈ɴᴇ (Bᴀsᴇʟ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, 2019),

• EsᴛOᴠᴇsᴛ Fᴇsᴛɪᴠᴀʟ – Lᴇ Sᴛʀᴀᴅᴇ ᴅᴇʟ Sᴜᴏɴᴏ (Gᴇɴᴏᴠᴀ, Iᴛᴀʟʏ, 2020)

...ᴀɴᴅ ᴍᴀɴʏ ᴏᴛʜᴇʀs.


//    STRZ ɪs ᴀʟsᴏ ᴛʜᴇ ᴄᴏ-ғᴏᴜɴᴅᴇʀ ᴏғ ᴀ ᴘᴏʟɪsʜ ɴᴀᴛɪᴏɴᴡɪᴅᴇ ᴄᴏɴғᴇʀᴇɴᴄᴇ ғᴏʀ ɴᴇᴡ ᴍᴜsɪᴄ ᴀɴᴅ sᴏᴜɴᴅ ᴀʀᴛ ELEMENTI, ᴏʀɢᴀɴɪsᴇᴅ ᴀɴɴᴜᴀʟʟʏ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ.

//    Hᴇ ʜᴀᴠᴇ sᴛᴜᴅɪᴇᴅ ᴄʟᴀssɪᴄᴀʟ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴜɴᴅᴇʀ Zʙɪɢɴɪᴇᴡ Bᴀʀɢɪᴇʟsᴋɪ (2011-2014) ᴡɪᴛʜ ᴇɴʜᴀɴᴄᴇᴅ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ & ᴀʟɢᴏʀɪᴛʜᴍɪᴄ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴘᴇᴄɪᴀʟɪsᴀᴛɪᴏɴ ᴜɴᴅᴇʀ Mᴀɢᴅᴀʟᴇɴᴀ Dʟᴜɢᴏsᴢ (2015-2020) ᴀᴛ ᴛʜᴇ Kʀᴀᴋᴏ́ᴡ Aᴄᴀᴅᴇᴍʏ. Mᴏʀᴇᴏᴠᴇʀ, ʜᴇ ᴘᴏʟɪsʜᴇᴅ ʜɪs sᴋɪʟʟs & ᴄʀᴀғᴛ ɪɴ ᴛʜᴇ ᴄᴏᴜʀsᴇ ᴏғ ɴᴜᴍᴇʀᴏᴜs ᴍᴀsᴛᴇʀᴄʟᴀssᴇs, ᴍᴏsᴛ ɴᴏᴛᴀʙʟʏ ᴅᴜʀɪɴɢ ʟᴇssᴏɴs ᴡɪᴛʜ Cᴀsᴘᴀʀ Jᴏʜᴀɴɴᴇs Wᴀʟᴛᴇʀ, Mᴀʀᴋ Aɴᴅʀᴇ, Cʟᴇᴍᴇɴs Gᴀᴅᴇɴsᴛᴀ̈ᴛᴛᴇʀ, Jᴇɴɴɪғᴇʀ Wᴀʟsʜᴇ, Eɴɴᴏ Pᴏᴘᴘᴇ, Sᴛᴇғᴀɴ Pʀɪɴs, Jᴏʜᴀɴɴᴇs Kʀᴇɪᴅʟᴇʀ, Zʏɢᴍᴜɴᴛ Kʀᴀᴜᴢᴇ, Mᴀɴᴏs Tsᴀɴɢᴀʀɪs, Uʀᴏš Rᴏᴊᴋᴏ, Rɪᴄʜᴀʀᴅ Aʏʀᴇs, Jᴏᴇ Cᴜᴛʟᴇʀ, Mᴀʏᴋᴇ Nᴀs ᴀɴᴅ Oʟɪᴠᴇʀ Sᴄʜɴᴇʟʟᴇʀ. 

//    Iɴ ᴛʜᴇ ʏᴇᴀʀs 2012-2016 STRZ sᴇʀᴠᴇᴅ ᴀs ᴛʜᴇ ʜᴇᴀᴅ ᴏғ ᴛʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴛᴜᴅᴇɴᴛs’ ᴄɪʀᴄʟᴇ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ, ᴏʀɢᴀɴɪsɪɴɢ ɴᴜᴍᴇʀᴏᴜs ᴄᴏɴᴄᴇʀᴛs, ᴄᴏɴғᴇʀᴇɴᴄᴇs ᴀɴᴅ ᴅᴇʟɪᴠᴇʀɪɴɢ ᴏᴘᴇɴ ʟᴇᴄᴛᴜʀᴇs.

minor differences (2019)

Szymon Stanisław Strzelec