The Tower of Hanoi is a mathematical game, consisting on several rods and disks of different sizes that can be put on any rod following some simple instructions. The smallest rods should be at the top, forming conical shapes on each tower. As the number of added disks increases, the graph representation of the game will resemble a fractal figure, the Sierpiński triangle. Composed in home studio and mastered at LATEM studio, Music Institute, Campus Oriente, Pontificia Universidad Católica de Chile and the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, USA.

The Tower of Hanoi

War of the Currents is a four-movement work inspired on the actual war of the same name that took place in the late 1880s, where George Westinghouse and Thomas Edison became adversaries due to Edison's promotion of direct current (DC) for electric power distribution against alternating current (AC), invented by Nikola Tesla. This work revolves around the idea of the encounter of two of the probably most attractive geniuses of all times: Thomas Edison and Nikola Tesla. The piece is structured in four movements. The first one provides a sonic interpretation of Tesla’s creation of AC, which was backed by Westinghouse Electric Company. The second presents the invention of Edison’s DC, developed by Edison Electric Light Company, later known as General Electric. The third movement refers to the practice of “Westing-housing”, brutal attempts by Edison’s side to question the safety of AC by electrocuting animals such and dogs and horses. Finally, the fourth movement refers to the fact that, in May 1892, Westinghouse Electric managed to underbid General Electric on a contract to build an AC station, by electrifying the World’s Columbian Exposition in the city of Chicago, where it was demonstrated that AC was a superior alternative to DC for power stations and electricity distribution.

The movements of the piece are:

I. Tesla
II. Edison
III.Westing-housing
IV. Chicago

War of the Currents

Imber explores several characteristics and possibilities of water as a sound source. Imber is a Latin word that can be translated as rain, precipitation or storm. I invite you to get wet!

Imber

Surrogata is a latin word that could be translated as surrogacy or substitution. In the field of electroacoustic music, composer Denis Smalley coined the term surrogacy in the context of hearing sound objects, as that characteristic of the auditory system that tries to assign source to every sound, even if substitute or imagined, especially when the original source is not recognizable. In some sense, this is an opposite way of listening to Schaeffer’s reduced listening. As the degree of surrogacy increases, the more imagined or abstract are the sources. In Surrogata, this way of listening by substitution is deliberately sought and emphasized by the usage of solely pure synthetic sounds in the whole composition. As there are no recorded or natural sounds in the piece, surrogacy appears as the only possible listening strategy.

Surrogata

Vox Populi is a musical work inspired by the sounds of the social uprising in Chile, specifically those that I was able to capture while simply leaving my office and walking out to different places in Santiago during the times of the social revolt in late 2019. The sounds of marches, demonstrations, pot-bangings, shouts, dances, street vendors, vehicles, drums, and honking horns become the protagonists of this work that seeks to reflect the anger, discontent, confusion, and struggle of the Chilean people, whose silence had been accumulating since the times of the military dictatorship in the 1970s. The work is structured in a series of soundscapes that seek to recreate the atmosphere of the streets of Santiago during the social uprising. It was impressive for me to listen to a Chile that I had never heard with such force in my entire life. Through an elaborate montage of binaurally recorded sounds, I seek to generate an immersive acousmatic experience that allows the listener to dive into this chaotic and visceral environment and experience sonorously what it was like to go out into the streets in those times, without any elaborated effects or processing. The work aims to generate a reflection on the importance of sound in our perception of reality, as well as on the role of music and art in moments of social crisis.

Vox Populi

Pedro en su laberinto_Stéréo

“This is not your average, everyday darkness. This is… ADVANCED darkness.” — SpongeBob Squarepants

Track list and start times:
00:00  Robin Carolan – Seeress (from ‘The Northman’)
03:18  Vincent Eoppolo – Triptych (featuring Mario Sboarina)
07:47  Third Ear Band – Egyptian Book of the Dead
16:22  Adam Majdecki-Janicki – Gorczyn Forever Jazz Aftermath
24:18  Bob Rutman and Arran Poole – Dresden
30:45  Eiko Ishibashi & Jim O'Rourke – lia
37:56  Hand To Earth – Wata Dhärranhayŋu
47:11  Les Baxter – Sunken City
50:00  Madeleine Cocolas – Parthenon
54:41  Arthur King – Ned's Mystery Machine Vol. 1 (excerpt)
1:00:09  Hekla – Flækjur
1:06:18  Mike Lazarev – Temporal Echoes of Sacred Tonalities
1:13:14  Robin Carolan – Last Teardrop (from ‘The Northman’)
1:16:26  Aki Onda – Screen Test
1:23:04  The Sabres Of Paradise – Chapel Street Market 9am
1:30:02  Madeleine Cocolas – Past The Floodline
1:35:20  Paul Minesweeper – Watch The World's Embers
1:40:28  Timo Kaukolampi & TAL – Full moon improvisation 27-4-2021
1:50:10  Nathan Johnson – War (from ‘Brick’)
1:54:12  Vode – Green Judgement
2:04:09  Ujif_notfound – Peace Your Tranquility
2:07:14  Michael Valentine West – a black ship, conflicting versions of events (excerpt)
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Eclectic current – You don't need a license to drive a sandwich

A reflection of contemporary society and our inability to communicate and agree on a common reality. This work features Italian Soprano Silvia Pepe

Fragmentation feat Silvia Pepe

ARCTIC   BIRDS    3    -   2025

Darkness Darkness, J. Albert, Material Object, Rest Symbol, Princ€ss, Rashad Becker, Zero Key, Aya, Rai Tateishi, Usof, Civilistjävel!, Sa Pa, Ellll, ZULI, Pye Corner Audio.
More details at http://le.satellite.free.fr/2025/06/satellite-436-by-samotham/

Samotham "Le Satellite #436" 15/06/2025

Arçon de Nièze & Senglar - Ferita

"Loyalty to petrified opinion never yet broke a chain or freed a human soul." - Mark Twain

Track list and start times:
00:00  Pye Corner Audio – Lake Deep Memory
08:24  Janek Schaefer – White Lights of Divine Darkness (for Sir John Tavener)
15:38  Elisabeth Klinck – One Day
19:32  Mariska Baars & Rutger Zuydervelt – eau (excerpt)
23:12  Amelia Cuni and Werner Durand – Byss
32:33  Debroc – Anarchic_Naviarhaiku608
35:05  Human Greed – In Absentia
39:40  Rick Sanders – The Sound of Ice Voids (from Noctilucent Clouds)
44:49  zenbytes – prohibited grounds - Naviarhaiku605
49:52  Photosphere, Unusual Cosmic Process – Colours Of The Sky
52:38  The Asynchronous Drone Orchestra[s] – 13th September 2025 (excerpt)
56:55  Martina Berther, Philipp Schlotter – Lookout
1:05:30  von jeglichem wort – nun versteht man bereits etwas von der gewalt der bewegtheit (excerpt)
1:12:00  Mr_Lamppost – The Sadness Of Things (naviarhaiku - 609)
1:21:10  Akmuo – Language of the Clouds
1:31:19  DarkSonicTales – «UnKnown»
1:45:54  Lightning White Bison – Side B (equinox fallout - perhaps a country - crystal mouth - mammal melody) (excerpt)
1:50:20  Ingrid N – Morrivaan (excerpt)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
With thanks to The Institute of Spectra-Sonic Sound for so many good ideas…

Eclectic current – Freedom of the soul

IS  THIS  A  PLAY   GARDEN   ?

A piece exploring tensions between the anti-information and non-soundscapes formed by digital media and sound reproduction devices invading all spaces.

The first section explores the virtual order formed as attention is drawn across a multiplicity of incompossible sonic worlds formed in equitemporality. These are felt, as in the lived sonic experience, through differences in layered spaces via noise-induced dissimilitude (projected spatiality of different fidelities, lossy codecs, speaker and recorder noise floors), as sounds are recognised as simulacra of sonic worlds, in the Deleuzian approach to the concept.

Movement Two is an isolation of tensions and energies between sonic events. The sense of chronological progression is removed from audio sourced from shoe destruction fetish videos to expose the rhythmic events contained within and transfer the actions into the virtual time domain of music. 

The Third Movement is an isolation of pure spectral fields extracted as information from sound. Here, a contemporary approach to spectral composition is formed utilising machinic perception and Markov chain probability to create directionless clouds of information, a reaction to the collapsed spatio-temporality of online audio and the apophenia that arises when attempting to form information from online noise.

The isolation of these qualities intends to strip away any narrative context for them and free their affective potential, akin to a visual figure becoming the figural rather than figurative once framed in a purely geometric space or colour field, rather than a scenic one. The hope is to capture emergent media-induced experiences of sound in electro-acoustic compositional practice.

Three Movements of Self Loss Between Non-Spaces and Anti-Information



Composition pour le Naviar Haïku Music challenge 611.
Sur un haïku de Natsume Seibi:

half-asleep eyes
open to a dreamlike world
of blossoms

www.naviarrecords.com/haiku-music-challenge/


Blooming sleepiness

Una ruota muta

Ars Suita (the art of the suite) is an acousmatic work that revisits the panegyric trio suite "Concert instrumental sous le titre d`Apothéose de Monsieur de Lully", composed by François Couperin (1668-1733) and published in Paris in 1735. This suite serves as an homage to the French composer Jean-Baptiste Lully, who was one of the most important composers of the French Baroque era. As the music director of the royal court of France, Lully's compositions had a significant impact on French musical style.
Couperin's "Apotheosis" is a suite of pieces that includes a prelude, several dances, and a final chaconne. The suite showcases Couperin's skill in composing for a variety of instrumental combinations, including strings, winds, and continuo. Its graceful melodies, refined harmonies, and intricate counterpoint are all characteristic of the French Baroque style.
Ars Suita is structured in nine movements that follow the same structure as the original piece by Couperin. The material for each of the movements is derived from an audio recording of the original "Apotheosis" with early music instruments. Each movement uses a different sound processing technique, creating a particular sonic character for each part of this acousmatic suite.
Like many Baroque composers, Couperin paid tribute to his predecessors and contemporaries through his music. In the same spirit, Ars Suita is a small homage to Couperin, and indirectly to Lully.

Ars Suita

WHAT  A  WORLD

Rodrigo F. Cádiz is a composer, multimedia artist, and engineer whose research and music bridge the realms of sound, technology, and performance.

Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Initially trained as both a Classical and Jazz guitarist, Eoppolo began composing and recording electronic music in the early 1980’s shortly after the development of MIDI (Musical Instrument Digital Interface) and the introduction of affordable home computers and recording equipment. During the 1980-90’s Eoppolo’s fixed media compositions were regularly featured on university new music radio programs in the Philadelphia, Pennsylvania region. Additionally, Eoppolo’s works received recognition in music publications Keyboard Magazine and Computer Music Journal. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

Eoppolo’s music is available on all major streaming platforms such as Spotify, ITunes, YouTube and Amazon as well as Soundcloud.

Latest Albums :
https://senglarbraille.bandcamp.com/album/jt-chapman-senglar-susurrus
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https://elmuellerecords.bandcamp.com/album/hum
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https://martinhoogeboom.bandcamp.com/track/fearless-senglar-version-a

Permanently selecting, on the radio and DJ'ing here and there.
http://atmosphereradio.free.fr
http://le.satellite.free.fr

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .

New tracks tagged #ACOUSMATIC