Dis-Train

An experiment with Buchla Synth and samples from Egmont Overture, performed by Orchestra TSUMUGI on 10th Mar. 2024, Fukuoka Symphony Hall, Japan.

Folding Egmont

INTO   SILENCE

Hunting for sounds and being haunted by them. 

The two-part noise essay “Haunting Aurality” is a diary-like documentation of two states of daylight in an urban environment: from an unexpectedly blinding, dazzling September to the unpredictability of November's misty winds in Montreal, in the Fall of 2023. Based on enchanted listening, field recordings, and modular synthesis, the piece is shaped by two intense processes of sonic imagination: hallucination and premonition. I was curious how the novelty of the perceptual experience could reshape an aural perspective.

Haunting aurality – I (September) noise essay

Slowing down, speeding up, then slowing down again, stretching and loosening the fabric of time and its perception, as if it were an elastic, malleable cloth.
Variations in energy become agents of transformation: they draw, erase, and distort other spaces — distant or suddenly near.
Abrupt changes in gravity anchor us to the ground, only to lift us up again.
How much further can the elastic be stretched before it breaks?

Fabric Of Time

Haunting aurality – II (November) noise essay

INTO  SILENCE   2

Fada

INTO  SILENCE     3

Originally an acoustic electronic music piece created for 3D electronic music, it was selected for the live performance at SMC2025.

New Day

“The surface world may be as much a myth to the subterraneans as the underworld is to us.”  ― Priscilla Vogelbacher

Track list and start times:
00:00  Anna Drubich – Down the Tunnel (from ‘Barbarian’)
03:07  156 – Red Rooms
07:55  Concepción Huerta – Magma como la vena en el territorio
14:32  Jeff Gburek – The Bridge Of Many Shapes
21:29  Dolores Mondo Stash – Streams of Compulsion
25:18  The Spectral Light – Whisper Surgery
33:19  Ariel Kalma – 244 Steps None Back 84
40:42  Gimu – The Self Exile Of The Self
47:29  Grand River – Tuning the Wind (excerpt)
56:05  If, Bwana – Bleeding At Limelight
1:01:52   Colin Andrew Sheffield – Sunrise
1:05:55  Leslie Keffer – Bison Antiquus
1:12:27  progettosonoro – Blood Moon (A tormented night)
1:18:55  My Own Cubic Stone – subterranean
1:27:28  Ryan Holladay, Hays Holladay & Zach Cregger –Where Are You? (from ‘Weapons’)
1:31:26  Stan Magendanz – reyoreawn
1:34:34  Green Tea – False Spring
1:39:29  Philippe Neau + LR Friberg – Operation Sugar Rush (Emoji Soup)
1:43:07  Audible Masticators – üpO'iuztc v
1:46:55  The Silent North – Written in Sand
1:51:02  Laurel Halo & Leila Bordreuil – Awe (excerpt)
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Image: Lexica.art


Eclectic current – The rooms beneath the palace

NEURAL  NETWORK    2

Nearby the Blackbird (2025)

This work grew out of a curiosity and interest in going visiting and travelling sonically alongside blackbirds. It was created with a series of early morning field recordings made during a two-week stay in Graz, Austria in 2024.

The title draws inspiration from the documentary filmmaker and feminist theorist, Trinh Minh-ha’s concept of “speaking nearby,” which embraces a mode of relationality that listens and responds, not by speaking "about" the other, but by sounding "with" them in sonic proximity.
This work invites listeners into a reflective space, as it explores the complex (im)possibilities and (mis)understandings that emerge when sounding nearby another voice; in this case the voices of blackbirds.

Nearby the Blackbird

Clinton-Washington is the subway stop in Brooklyn, NY for the art school I attended decades ago. Only one train line serviced it. I remember the array of emotions I felt depending on the time of day I arrived at the station. They could range from anticipation to frustration to relief to loneliness. The sounds used in "Clinton-Washington" range from the literal to the metaphoric. Hopefully they serve to underscore that wide emotional palette.

Clinton-Washington

RARAKÜN

Rarakün

SOUND  SELF    SOUND   MEDITATION  2

Compositor y Guitarrista
jjv4083@gmail.com

Mellimbrosia is an imaginary but safe space for sound experiments discovered by Uliana Bychenkova in her bedroom, where she is also wearing many other hats, such as an interdisciplinary artist & designer, curator & researcher, composer & performer, but first of all, a sensual thinker. 

With a background in noise performance, Uliana studied at the school of Ukrainian composer Katarina Gryvul, where timbre and form were paid the most strong attention. Focusing on the intermedial dimensions of electroacoustics and employing feminist optics, she graduated from SeaM (Studio for Electroacoustic Music Weimar, M.F.A.), with an electroacoustic score for the short film “Scales” directed by Anna Scherbyna (e-flux Film Award 2024).

sound lover, electroacoustic musician, pianist & artist researcher; composing, improvising and experimenting.

currently interested in response-able sympoietic sounding practices with humans and more-than-humans, including practices of material agency with instruments.

please use headphones or loudspeakers in order to reproduce all audio details.

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...

Trashy artist from Planet Keron. No pronouns, for grammatical reasons "she" is acceptable.

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