hardline

Echoes, Silence, Patience & Grace

The Pretender

07 - Le Chant Des Sirènes - ISRC OK

Here is my Piano Day 2022 contribution. Enjoy!

It is a reflection of infinite AI thoughts. 

The piece is dedicated to my friend David Kreutzer as a birthday gift. We were suppose to meet up in our hometown, Copenhagen. But due to Covid, I needed to stay in Stockholm and wrote this piece instead.

Let me know if you want the score, then I will send it to you as pdf.

Bjørn-Henrik Zink - Infinite (Piano Day 2022)

Cello Bender

The Pigeon Tunnel (Soundtrack from the Apple Original Film)

The Empty Safe

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Life Went On

Artists: Mikaël Delta & Hior Chronik
Album: The First Ray
Catalog Number: SSS064
Release Date: Fall 2015

2015 is proving to be a busy year for George Papadopoulos (aka Hior Chronik), whose third full-length album ‘Taking The Vail’ (Kitchen. Label) and collaborative double-vinyl project with Arovane ‘In-between’ (A Strangely Isolated Place) are due to be released within the year. ‘The First Ray’ (Sun Sea Sky Productions) sees Hior Chronik collaborating with prolific Grecian electronica artist Mikaël Delta, and kicks off a semi-regular series of collaborations from the artist on the imprint.

Drones and ambient fields drench this release with an emotional frequency full of strength, inner treasures and awakening - creating an exquisite recording that attempts to transcend the temporal or physical, replacing these instead with the light of consciousness.

© 2015 SUN SEA SKY PRODUCTIONS

Mikaël Delta & Hior Chronik - The First Ray (Sampler)

'Sulantat' - For Oboe, Bass Clarinet, Violin, Cello, Bass & Electronics. 
Performed by the Munich Philharmonic Quintet and Sebastian Plano (Electronics)

Written by Sebastian Plano
Recorded Live at Gasteig, Munich on November 12th of 2016.
Choreography by Kat Válastur.
Dance: Elien Rodarel.
---
http://www.sebastianplano.com/
http://www.facebook.com/sebastianplano

Sebastian Plano - 'Sulantat' (Live Recording)

Sleigh Bells - Demons (Diplo Remix)

Taken from 'Glider 10: Reworks' by The Sight Below out December 7, 2018.

Order 'Glider 10: Reworks': ghostly.com/products/glider-10-reworks
Or at the retailer of your choice: ghostly.lnk.to/the-sight-below-glider-10-reworks

Glider 10: Reworks

The Sight Below - The Sunset Passage (Biosphere Remix)

Latest album by Aukai

Featured on BBC6 Music Recommends
CD of the Month on Echoes Radio January 2019

Order Limited Edition CD:  https://aukai.bandcamp.com/album/reminiscence
Watch the video : https://www.youtube.com/watch?v=0eVlyTRMPu8

Reminiscence

08 In The Trees

I made a little video about how I made this piece and it's story here: https://www.youtube.com/watch?v=0RfIRPWCpCQ&t=72s 
I begun to write this track for last year's Pianoday amongst other album tracks. I was inspired by prepared piano composers and used recordings of the strings of the piano being strummed with the keys taped down to allow them to resonate. I didn't complete it till later on in the year and felt it belonged on the album alongside other tracks that we're being written sequentially at the same time ( https://orcd.co/alone-not-alone-album ) so I'm thrilled to now see it come home and contribute to Piano Day 2020!

In the track delicate beginnings give way to an overwhelming sense of wistfulness, surrounded by the sirens of compassion.  A reflection on the challenges of departure and the need for independence and, in the end, solitude and the possibilities therein. The piano strings we're close mic'd and gently strummed for the intro and background soundscape. Later on they we're hit with the handle of a glockenspiel beater to make the stronger sound for the middle section. The piano melody is joined by bow'd xylophone and string glissando's and melodies to create an atmospheric track that speaks of the tensions of solitude and togetherness, inspired by a visit to Crozon in France and our country's own challenges of leaving the EU and the tensions therein.

The Near Isle

TOM And His Computer - Debut album 'Future Ruins' out Oct. 16th 2020

Cello Bender

TOM And His Computer

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