Portals and Stories of Irkutsk

Stories of Irkutsk

Portals of Irkutsk

My take on this was to use glitches or extraneous sounds that crop up in field recordings. These are usually edited out but here I extracted some from a couple of recordings and joined them to form a continuous sequence. After extending this sequence and adding a touch of reverb and delay I combined it with an evolving electronic drone.

More on the 715th weekly Disquiet Junto project, Err Apparent — The Assignment: Make a mistake on purpose. Build something from it — at https://disquiet.com/0715/.

Field Glitches (disquiet0715)

blood can exit a human being almost as fast as a bullet! :)

desensitise

TRE MOLA TRENTE

Луна

RESLP037
Releases November 10, 2025
futuraresistenza.bandcamp.com

Michiko Ogawa is a performer and composer based between Berlin and California. Her practice spans contemporary composition, improvisation, and sound art, exploring layered timbres and shifting acoustic spaces that move between intimate detail and expansive resonance.

Her second solo album, Pancake Moon, will be released in November 2025. The record combines keyboard instruments and shō with field recordings made in Berlin (2024) and Joshua Tree National Park, California (2022). It was mixed by Sam Dunscombe, mastered by Felix-Florian Tödtloff, with artwork by Angie Jennings and layout by Jeroen Wille.

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Michiko Ogawa: piano, organ, synthesizer and shō. Recorded in Berlin, 2024.
Side A: field recording made in Berlin, 2024. Side B: field recording made in Joshua Tree National park, California, 2022.
Mixed by Sam Dunscombe. Mastered by Felix-Florian Tödtloff.
Artwork by Angie Jennings. Lay-out by Jeroen Wille.

RESLP037
Futura Resistenza
Brussels/Rotterdam, 2025

Pre-order Vinyl

ashimoto no uchuu

shizukana hikari

Gills on Land

DOOMSDAY MADRIGAL for mixed choir by Gary Lloyd Noland (Sept. 12th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

DOOMSDAY MADRIGAL for mixed choir

My music is highly inspired by nature as I studied biology, but personal and especially social problems like insomnia, performance pressure and sexism became a focus in my latest creations. 
Besides, I enjoy experimenting with new languages, different instrument and vocal techniques to underline certain moods and emotions :)

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

https://instagram.com/bakaladetroya 📸📸https://youtube.com/@borjamoskv 📺
https://music.apple.com/us/artist/borja-moskv/1537380913 🍎
https://soundcloud.com/borja-moskv ☁️
https://open.spotify.com/artist/4p7wMuZpktE5aBFhBoQdqa 🎧
https://instagram.com/borjamoskv 📸
https://x.com/bakaladetroya 🐦

Futura Resistenza is a Brussels-Rotterdam based record label
"Speramus meliora; resurget cineribus"

Abstract Sound Structures, Musique Concrète & Live Electronics.
Experimental abstract animation videos.
It is my aim to create and/or edit my tracks & videos using free or open-source software only.
Influences include: J.S. Bach, John Cage, Iannis Xenakis, Giacinto Scelsi, Mauricio Kagel, Conlon Nancarrow, Christian Wolff, Harry Partch, Luc Ferrari, Morton Feldman, Cornelius Cardew, Bernard Parmegiani, Ana-Maria Avram, David Tudor, Alvin Lucier, Pauline Oliveros, Renaissance Polyphony.
All my work is published under a Creative Commons licence & can be freely downloaded (as wav) or remixed.

New tracks tagged #Avant-garde