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I never never never nevenevernever didn't heard nothing likezis. It's absolutely New Word New World in music

MY HEAD WILL BLOWWWWWWWWWWWWWWWWWWWWWWWWWWWWWNNNNNN UP

это невероятно. я в ахуе. я просто блять не нахожу слов. Это жемчужина. Это находка. Это гений один на миллиард.

a very nice use of such a fantastic instrument. BRAVO !

Dissolution part II

Bright sin of the ether
Blurry in the ambit, like a red shield
With a ray, opens up to the eye
Divided sky in two
Eastern, despicable poison
Gathered in an instant

There are fields ready yet unrecognized sky
Like a felon in broad daylight
Bitterness, hurries down - burns behind the marshes
This fleeing distance of the corners - It throws a weak beam.

Over all these years, going through the motions in busy streets, courts and ballrooms, marching along with the parade, one will see an endless gallery of facades, masks, faux costumes, and contrived personas. Only a sensitive hand can tear down this adhered wallpaper of imitation. Standing under this gleaming sunrise is not an act of defiance, anger, or detachment; it is invitation, albeit a futile one, to see what lies beneath.

Copenhagen-based visual and musical artist øjeRum presents 'Lav Sol', an album of symbolistic landscapes seen through intuition. In his music, Paw Grabowski effortlessly combines traditional, classical themes and motives into contemporary poetic forms. The three long-take recordings of Lav Sol inspire to look for the truth under the surface.

Lav Sol

øjeRum - Fyret Der Lyser Over Skyerne

5.12.17 DS159 - Mette Rasmussen & Sofia Jernberg - Part 1

Mind over MIDI - I
https://mindovermidi.bandcamp.com/album/i

I Sit

I Sit (from I)

Mix
FOUCAULT vs CHOMSKY 
 & Ryoji Ikeda - Data Matrix

Biopolitics (Foucault vs Chomky  Ryoji Ikeda - Data Matrix) By Efrén Budoh Blanco

‘Plateau’ is a auditory time-lapse history of Scotland’s Cairngorm high plateau. It is composed of four sections corresponding to the fluctuations of cold (Stadial) and warmer (Interstadial) climatic conditions: 

(1) The Last Glacial Maximum / (Late) Dimlington Stadial (27,000 to 16,000 BP)
(2) The Late-Glacial Interstadial (c.14,670 to 12,900 BP)
(3) The Loch Lomond Stadial (12,900 to 11,700 BP) 
(4) The early Holocene (11,700 to c.9,000 BP)

‘Plateau’ is part of ‘Looking Up’, a research project focusing on the post-glacial landscape, archaeology and heritage of the Scottish Uplands, led by Sam Kelley (University College of Dublin, School of Earth Sciences), Graeme Warren (University College Dublin, School of Archaeology) and Alice Doughty (University of Maine, School of Earth and Climate Sciences). 

The technique used to determine the timing of deglaciation on the high plateau involved project scientists collecting samples of rock containing quartz grains — a common mineral that is resistant to weathering. The rock samples were crushed, pulverised, sieved and sorted, before being subject to magnetic and mineral separation in order to isolate the quartz grains which contain ‘cosmogenic nuclides’ from the other minerals that make up the rock. In turn, these nuclides provided a direct means of timing their prehistoric exposure to cosmic radiation as the overlying cover of ice finally melted. In total, these samples give us a picture in space and time of the former glaciers in the Cairngorms in the face of warming post-glacial climate.

This process of sample collection and analysis directly informed the composition of ‘Plateau’. Stones from the locality were collected and their surface interactions recorded at high frequency sample rates. The resulting waveforms were then subjected to granular analysis, so that ‘single-cycle waveforms’ displaying tonal characteristics could be isolated and extracted. These grains of sound became the foundation of the musical composition.

https://www.ucd.ie/archaeology/research/lookingup/

‘Looking Up: the future of early prehistoric heritage in Europe’s mountains’ is funded by the Irish Research Council’s COALESCE programme 2021–2023 (IRC COALESCE/2021/78) and is coordinated by University College Dublin’s School of Archaeology and School of Earth Sciences, with partners in University of Maine, Purdue University (both USA) and Aberdeenshire County Council.

https://www.richardskelton.net/land-music/plateau

Plateau

BLWBCK061 | Release Date : June 6, 2015
Limited to 66 copies
C40 / 6 panels J-CARD

FOUDRE! is a new experimental project created by Frédéric D. Oberland (Oiseaux-Tempête, FareWell Poetry, Le Reveil des Tropiques), Romain Barbot (Saåad) & Grégory Buffier (Saåad, Autrenoir, Mondkopf). This, their debut cassette, compiles their first meetings and rehearsals. The resulting "Magnum Chaos", almost 40 minutes of total improvisation, is like the centre of a black-hole, a total, almost oppressive collapsing of  the trio's energies. Experimental, noise, drone, dark-ambient, electronic, lo-fi, chiaroscuro, these varying aesthetics converge to create a darkened room full of flickering stars and fading shadows. "Magnum Chaos" is too dense and too rich to be considered a demo tape. It is, rather, a sincere recording of the birth of a project. A recording where unedited events and audio clips are there to document and remind that for all the hours of fine tuned arrangements there must also be the pure expressions of three musicians in a free environment.

Music improvised & recorded by Frédéric D. Oberland, Grégory Buffier & Romain Barbot / Oct.14 – Toulouse, France. (Dozen Bows & Concorde39 studios)
Mixed by Frédéric D. Oberland / Apr.15 – Paris, France. (Magnum Diva studio)
Mastered by James Plotkin / May.15
https://foudrenoise.bandcamp.com

A2 - Cellarius

This piece was made for the opening of the Radio Belgrade Electronic Studio on March 2 2018. 

This is my 1st recording of the real-time improvisation with EMS Synthi 100 + my computer setup.

Computer setup was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids.

Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar.

This is my first use of the modular synthesizer in live performance and/or composition.

TV recording of the whole event: https://youtu.be/9tUwHGweUxY
(simultaneous performance in 2 studios of the Radio Belgrade with audience, live TV and radio broadcast)

Radio Concert No.1

from AAC001 // AVR - Drones Vol.1
available June 20 as c56/CD-R/digital.

ambient assistance 2018.

EXOPLANET

A long-planned collaboration between Hilary Robinson – composer, pianist, singer – and myself, made more necessary and possible during 2020. 

Available at Bandcamp: https://jojohnson.bandcamp.com/album/antenna-echoes.

Photo by Hilary Robinson.

Thanks for your support!

Jo Johnson & Hilary Robinson – Antenna Echoes EP (clips)

Vodopád

Composer and sound artist. Professor of Creative Music Technology and Co-head of Electronic Studio - Basel. Ex Head of Radio Belgrade's Electronic Studio
www.svetlanamaras.com
marasoffice@gmail.com
*********************************
Maraš has presented her work internationally, at venues, festivals and events such as  Ruhr Triennial, CTM (Berlin), Ars Electronica (Linz), House of Electronic Arts (Basel), Ruhr Triennial, Espace Multimedia Gantner (Bourogne), Musikprotokoll (Graz), Heroines of Sound (Berlin), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), Ausland (Berlin), Izlog Suvremenog Zvuka (Zagreb), ICMC (New York), International Rostrum of Composers (Wroclaw), ISEA (Dubai), International Music Institute (Darmstadt), Orpheus Institute (Ghent) and many other places. Her music was used in theatre plays, experimental and documentary films, presented at places like MOMA (New York), Aubagne International Film Festival and Bitef theatre (Belgrade).
​
Svetlana Maraš was SHAPE artist for 2020, and co-curator of 4fakultät concert series in Hamburg.

Radio Concert No.1

Svetlana Maraš

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