Did you work with delays for all these metallic textures?

a strangely evolving space, organic and metallic at the same time – great work!!

Sara Oswald & Feldermelder - Dual | Duel
Cat #: OUS038
Release date: July 7, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life.» — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums’ sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals’ timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald’s cello spins tales and emotions burst forth. Nature’s eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth’s primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello’s warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

CREDITS
Written by Feldermelder & Sara Oswald 
Produced by Manuel Oberholzer
Mastered by VFBM
Cover Design by Isaak Rickenbacher

https://ous.ooo
OUS038
@feldermelder

Dual | Duel

Buy on Bandcamp

Sara Oswald & Feldermelder - 3 - Everything Vibrating Is An Illusion

They aren't following me, the crows are flying low. It's everywhere i go.

Low Crows

This track was made as a contribute to Zoviet France open remix project https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix
The samples were live scrambled together with Lyra 8 synth (also played live), using a software called Forester, made by Leafcutter John. The result was recorded direct to disk, so no editing

ZF 23 24 7

from Martina Bertoni's forthcoming album "Hypnagogia", out on 20th january 2023 as LP / tape / DL

Hypnagogia

MARTINA BERTONI - Inversion

all horrid compress sorry

Track taken from Point Source Electronic Arts 3rd Showcase Compilation.

Cienne

Influenced by the balance of features within a personality.
Saturated driven beats gaze off into a galactic sonic frontier before a crushing glitch crescendo.

::: Ambivert :::
Audio & Artwork by chromasy
-

::: FREE DOWNLOAD :::
chromasy.bandcamp.com/track/ambivert

::: Radio Support :::
Electronic Therapy (Radio Mercure)
Future Bubblers (Rinse.FM)
Kayla Painter (Worldwide FM)
-

::: ADDITIONAL CREDITS :::

Mastered by Julien Guillot aka Stazma at Electric Voyage Studio:
stazmathejunglechrist.com/studio

Vocals sampled from Miyu Hosoi - Lenna [Salvaged Tapes] (2019)
miyuhosoi.com/lenna/
Used under the Creative Commons License:
creativecommons.org/licenses/by-nc-sa/4.0/
--

Ambivert

Download

Pointillism for sampled human voice

We are happy to present two pieces of ambient music, and two artists already seen on our page.

two songs to transport us to all sides of the mountain, day and night, to feel in the place we like.

Artists:
Inner / Yenaldooshi

NAIND AR-31 A2 Yeenaldooshi - Spiritsgrief

Part of the piece - 2 Kinetic studies, made during the residency at the Spatial Sound Institute in Budapest in 2016: https://soundcloud.com/svetlanamaras/sets/2-kinetic-studies

Study no.1 is guided by the principle of symmetry. The central spot of the composition is in the middle of the room - half the way on both horizontal X- and Z-axis. Each object always moves through both halves of at least one of the X- or Z-planes. The element which is being doubled, is followed by the same-pace movement of the element on the opposite side of the axis, but the movement is being reversed: element no.6 positioned on Z-4 goes from X-5 to X+5 while at the same time in the same speed element no.7 at Z+4 goes from X+5 to X-5. 
There are three elements which are the musical nucleus of the composition (1, 2, 3). These sounds are airy (noisy) but they have a recognisable pitch and form a minor triad. All other elements are tuned to these three elements which define the tonal center of the piece. This kind of interpretation of the harmonic aspect of the composition, parallels the interpretation of ‘symmetrical’ in spatial domain. 

This is a stereo mixdown of the piece.

VIDEO: https://vimeo.com/210260544

Study No.1

Part of the piece - 2 Kinetic studies, made during the residency at the Spatial Sound Institute in Budapest in 2016: https://soundcloud.com/svetlanamaras/sets/2-kinetic-studies

Study no.2 is based on the rotational movement of majority of elements, and this is also the only movement being applied globally to all elements at once, at one point in the composition. Being rotated, the objects’ acoustic characteristics change and the overall soundscape of the piece is in a state of flux all the time. I worked with sinusoid electronic sounds and the vertical aspect of the piece could be interpreted through a division of the frequency spectrum. Some elements covered the higher frequencies, some middle ones and a single element covers the (sub-)bass range. In this composition, the movement on the Y-plane has been used less statically than in the Study no.1. Except programming each individual movement and behaviour of the object, I decided on four modes of each composition. Each mode consist of the specific combination of the elements, times of their activation and de-activation. These provisional decisions could be replaced by the audience’s own choice and different constellations could be made. My ‘studies’ - just like some of the sculptures by Jean Tinguely - are continuously working, repetitive machines, so which cannot be heard in their entirety, but are becoming audible segmentally, as one object sets the next one in motion.

This is a binaural recording made in the 4DSOUND studio.

VIDEO: https://vimeo.com/210260874

Study No.2

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.

Study No.2

Svetlana Maraš

Recent comments

W a l k e r

Larbjo

Related tracks