quadraphonic composition for ableton/max, baritone saxophone, and double bass
collaboration with Michael Ott (sax) and Loïse Campagne (bass)
mentored by Igor Silva

performed
February 27, 2025
Blue Stage, Conservatorium van Amsterdam
Masters Live Electronics Block Week

as i was moving ahead slowly, occasionally i saw brief glimpses of beauty (rehearsal, stereo mix)

sept 19 2024
@cva blue stage
intro performance for masters in live electronics
(conservatorium van amsterdam)

samples:
zoom h4n recordings

sampler experimenting w/ asynchronous loops + live effects manipulation

midi keyboard: ischa heijn
composition/midimix controller: nadia

tilt live @cva blue stage sept 19 2024

I wanted Super Gone World to be called anything other than what it is. The name is too "on the nose" for the global dumpster fire going on as this is released. I wrote like 200 other album titles, nearly all starting with the word "super," like any good Supercontinuum release:

Superconvicted Warlord
Supreme Homonuclear Weapon
Superemotional Dynamite Remberer
Supernatural Apocalyptic Event
Supertoxic superheavy metal
Superversalism
Superscum You've Been Dreaming ov Forever
Supervillianous
Super Gone Hole

As you can see, diminishing returns were really setting in, although I really want to use something with "homonuclear" in it in the future.

These songs started from hardware experiments, mostly. And early on I felt two musical directions happening. One was what I called "SCUM RAVE" and the other was "SISSY GABBER."

SCUM RAVE was a music/feeling that was punchy, probably danceable, sickening, like literally sickening, yellow-green (555 nm), and slightly deranged sounding. It was more like a fast techno with some lo-fi bits and grit, and some catchy leads. "Superumbilical" was the first song that kind of sounded like this to me. "Flamers" started to go that way a little bit, but not so much.

Next, SISSY GABBER was an impulse I had after going to ADE in 2023 (Amsterdam Dance Event). I went to Gabberland. It was nearly all white people, who, to me mostly looked straight, and some kinda tough, (even though I saw a good handful of gay gabbers there). After returning back home to make some music, I was like, I am feeling something that has danceable spastic rhythms that are both fast and slow, and queer. SISSY GABBER felt like something emotionally like vogueing and hakken dancing, but is neither. These were just the sensory webs. I did a whole bunch of Sissy Gabber live drum machine freakouts, mostly like 200 bpm things. "Sissy Gabber" on this record is one of them edited down.

The rest of the songs, well, I'll let you discover them, as they were a joy and sometimes a pain to make or mix. (Okay, I will mention that "Topped Bons" comes from an item at Cinnabon that I saw, and I was like, they didn't ask a gay.) I hope you find the sonic journey from start to end refreshing, as there are a couple different styles on this record.

Incredibly big thanks to Sacerdos for being a solid support during the mastering process and Thomas DeLaney for his amazing artwork which fully brings this record to life!  

AMAZING CREDITS:
Tracks produced and mixed by Supercontinuum
Album artwork by Thomas DeLaney
All tracks mastered by Sacerdos Vigilia
Queen of Sissy manipulated vocals originally Dale Balenseifen 

Purchase on Bandcamp

Sissy Gabber, Part 2

Dom Kirtley returns with his ambient set recorded live at Glastonbury Festival. Expect an hour of spacious and ethereal soundscapes performed on analog synths. 

Distant Image w/ Dom Kirtley 17/07/25 - Voices Radio

MARK OF CAIN (GP Ver.) (2019)

1 June 2025 @ Errant Sound
Voice + voice-controlled Electric Band ;-)
(Laptop/Ableton Push/Genki Wave Ring)
Image©Hatipoğlu
lauramello.org

“Solidarity Concert Event For Imprisoned Students in Turkey”

Doors: 20:00
Concert: 20:30
Address: Gerichtstrasse 45 / Backyard, 13347 Berlin-Wedding. @errant.sound ————————————
Özcan Ertek: electronics
Laura Mello: voice, electronics
Agente Costura aka Lisa Simpson: stitch and glitch
Melih Sarıgöl & Zeynep Ayşe Hatipoğlu, modular synthesiser, live processing, cello
Knifeloop: electronics 
———————————

Following the arrest of the Mayor of Istanbul on March 19, 2025, university students who gathered peacefully to exercise their constitutional rights during the growing anti-government protests were detained. Many were subjected to police violence and torture. Students are still on trial, and detentions and arrests are continuing. We stand with all students who defend freedom of expression and strive to make their voices heard! All proceeds from this concert will go to support the detained students who continue to resist for their freedom and stand up for their rights, with the support of the Soli 25 Berlin collective solidarity network.

Ta Na Hora - Live @ Errant Sound

Jendelendel: Yejin Suh/Victor Gallardo
Live electronics
Live in Lyon, France - 06.25

Jendelendel - Sans titre (live électronique)

Nylon string guitar passed through a diy granular alghorithm

scorre

Electric Bass natural harmonics and randomized delay lines.

Armonici Naturali

für Klaviertrio und Signale aus dem Radio

Das ist Lykke.
Lykke mit Ü?
Nein, mit Y. Das ist Norwegisch und bedeutet Glück.
Glück mit Ü?

Lücke mit Y

Whispers - Interlude: 
by Camila Agosto 

Fixed electronic work split across an 8.1 surround array. Featuring pre-recorded alto and tenor saxophone, voice, and signal processing. 

Voice, Alto, and tenor saxophone performed by Justin Massey.

Whispers - Interlude

The Memory of Water Vol. I, the sky moves beneath our feet (2023)
by Camila Agosto

Performed by Martine Thomas, viola and voice, and Camila Agosto, electronics.

About the Piece: 

What if, at the end of your life, your soul dropped into a pool of water—a single drop returning to an ocean, surrounded by other droplets on their separate journeys? As you move forward, you must release the attachments you’ve developed in this lifetime, shedding the layers that defined your identity and individuality. Your memories, roles, scars, and all details that once defined you must be let go. 

The Memory of Water is an ongoing collaborative project that explores the relationship between the natural erosion of human memory and broader ecological concerns through the journey of a life that begins in water and returns to water. This project integrates live composition, improvisation, custom instrument design, poetry, and electronics. Within Volume I, I delve into questions of what is remembered and forgotten, and the impact of change when dealing with loss and grief, through a collection of texts written by Martine Kinsella Thomas, a violist and poet. These texts explore life cycles that start from the ocean and return to the ocean, weaving ecological concern and personal narratives. Volume II continues this exploration through a new collaboration with Martine Thomas and cellist Thea Mesirow. In this volume, we navigate a new environment marked by the murmurs of souls, examining the vulnerability involved in surrendering one’s memory to the distortions of time.


The sky moves beneath our feet - Excerpt

Paracusia III.descry (2019-2020)
by Camila Agosto

World premiere performed by Justin Massey (saxophone) at Lenfest Center for Arts, February 2020. 

Audio Recording by David Adamcyk.

Paracusia III. descry

String Quartet with live electronics and fixed media. Performed in Warsaw on Jan. 19th 2025.

silence unleashed

…De Bord d'Attaque…
for saxophone, accordion and live electronics
Performed by Olivier Duverger, saxophone & Léna François-Poulet, accordion
World premiere recorded on April 22, 2025 at Radio France https://www.radiofrance.fr/francemusique/podcasts/creation-mondiale-l-integrale/de-bord-d-attaque-de-javier-munoz-bravo-diffusion-integrale-7865012

With the creation of Javier Muñoz Bravo, we navigate between entomology, music, and poetry. The title of his suite …De Bord d’Attaque… refers to a concept from aerodynamics, describing the phenomenon that occurs when an insect beats its wings. At the leading edge (“bord d’attaque”) of the wing, an air vortex is formed.

This natural phenomenon is poetically translated into music, drawing a parallel with the use of breath and air in the saxophone and accordion. Alongside this, the electronic part sometimes acts as an orchestral extension of the instruments, transforming and reshaping their sounds in real time. At other moments, it becomes an autonomous element, creating sonic universes, atmospheres, and virtual textures in harmony—or in counterpoint—with the instruments.

Electronics also take on the role of a “virtual brain” that actively participates in the “flight of insects” within this work, through a probabilistic system based on a database of hundreds of saxophone and accordion sounds, which the machine selects and unfolds throughout the piece.

…De Bord d’Attaque… explores, in a metaphorical way, five specific aspects of insect flight, linked together in a continuous form:

+Chrysalide (fragment 1): an inner sound-image of life and development inside the chrysalis, before becoming a butterfly. Muffled low sounds, grainy electronic textures, and the narrow breaths of saxophone and accordion create a sense of waiting and tension.
+Mue imaginale (fragment 2): the final stage of metamorphosis in insects such as butterflies or beetles, when they pass from chrysalis to adulthood, the imago.
+Deux cerveaux (fragment 3): inspired by the insect nervous system. The two musicians embody the dual brains necessary for the survival of a small insect, each bringing an essential dimension to its emergence and evolution. Electronics, as a third brain, generate a virtual world in constant interaction with the others.
+Turbulence (fragment 4): the complex dynamics of insect flight in an unstable environment. Each turbulence is absorbed and integrated, like a living sonic ecosystem in perpetual reinvention. Nothing is fixed, everything is in motion.
+De bord d’attaque (fragment 5): the suite closes with a condensed form of the previous fragments, zooming in on the leading-edge vortex—an essential aerodynamic phenomenon for many flying insects. Unlike birds, which generally flap their wings up and down, insects perform a more complex and dynamic motion: their wings converge and project rapidly in multiple directions. This motion generates greater lift and allows them to maneuver with remarkable agility.

Sound engineering team: Kevin Delcourt, Inès De Bruyn
Artistic direction: Cyprien Matheu
Coordination: Enzo Barsottini

...De Bord_d'Attaque...

Composed for the 6th edition of Labyrinth: The Rites of Spring by the 1781 Collective, this piece was made to be played in a dark, cold cellar of the Musikbrauerei (Berlin). In line with the evening’s scenario, the audience moved between different rooms, each hosting a performance with symbolic meaning. This piece was created to embody transformation.

The piece utilises electric violin, Ableton Live, live looping, and various effects created with Ableton stock plugins and Guitar Rig 6 by Native Instruments.

A HUGE Thank You to the 1781 Collective - without you this piece would've never existed!

1781 Collective
www.1781collective.com
www.instagram.com/1781collective

Mix & Master  - Damian Press
www.instagram.com/damianpress_music

5 String Theory
www.instagram.com/5.string.theory

Labyrinth 1781

Slough for Snare drum and live electronics

Premiered on 18.05.2025 by Roberto Enea Varalta at the festival Estate Musica 2025

Snare Drum - Roberto Enea Varalta

Studio recording by Lorenzo Arioli on 13/09/2025

Slough

Flute + Live Electronics - Perf. by Letizia Caspani & Lorenzo Pagliei

Si Je Me Souviens Bien

polish composer born in 1994 in Ełk. He has learned to play violin and piano since his early childhood. In 2013-2018 he studied Film Studies and Media Culture at the Adam Mickiewicz University in Poznań, Poland. In 2022 he has completed Postgraduate Studies of Composition in the class of Rafał Janiak at the Fryderyk Chopin University of Music in Warsaw. His musical interests cover mainly symphonic music. Currently, he has been working on his debut album consisting of chamber pieces.

Camila Agosto is a composer, interdisciplinary artist, and educator whose electroacoustic music examines how
we perceive sound and vibration, exploring their physiological, mental, and emotional impacts. In her work, Camila collaborates with
musicians, visual artists, choreographers, and instrument builders, seeking to uncover intersections across artistic fields. Her work
includes both fully notated and improvisational compositions emphasizing timbral and textural exploration. She aims to reveal the
sonic potentialities of acoustic instruments while highlighting the human element in live performance. Her projects encompass
acoustic and electroacoustic concert works, interdisciplinary collaborations with visual media and dance, installations, and fixed media
creations.

Camila was honored to be the youngest fellow to be accepted to the American Academy in Berlin and is a recipient of the Fall 2023 Berlin Prize and Deutsche Bank Fellowship in Music Composition from the Academy. Her music has been commissioned and performed by leading artists and featured by venues throughout the United States and abroad. Camila is currently an ABD doctoral candidate at Columbia University in Music Composition.

Multi-instrumentalist, composer, sound designer 🎵

Born in 1999, Pasquale Lauro is an Italian composer and sound artist. He initially studied violin
and piano before pursuing a bachelor’s degree in Electro-acoustic Music Composition at the
Conservatory of Salerno, where he graduated summa cum laude. Currently, he is furthering
his studies in Composition at the Conservatory of Mantua under the guidance of Maurizio
Azzan also taking courses with Zeno Baldi and Alessandro Perini at the same institution.

Pasquale has participated in numerous masterclasses led by notable figures such as Franck
Bedrossian, Pierluigi Billone, Francesco Filidei, Yan Maresz, Mauro Lanza, Clara Iannotta, Daniele Ghisi, Simone
Movio, Juste Janulyte, Lisa Streich. Recently, he collaborated with Paolo Fumagalli (Mdi Ensemble) and Giulia Zaniboni on his work
for soprano and viola and with Ensemble Suono Giallo on his work for ensemble. He
was selected by Divertimento Ensemble to work with Marina Boselli on a new composition
for euphonium and electronics, performed in the Rondò Concert Season (Milan). He was selected for Impuls Academy in Graz.

His upcoming projects include a new piece for ensemble and electronics, written for Proxima Centauri and a piece for accordion and double bass written for Carlo Sampaolesi and Pietro Elia Barcellona.

Pasquale's sound research is centered around the fusion of electronic and acoustic timbres,
establishing a phenomenological relationship between them, while creating intricate
harmonic structures through the analysis and processing of sound spectra.

7" VINYL WITH DOUBLE GROOVE
Ringing Still Life (Corvo Records)

CD
Está Verde! (Creative Sounds)
http://www.creativesourcesrec.com/catalog/catalog_553.html

For purchases, drop me a line
mail@lauramello.org

www.lauramello.org
Contact & Booking: mail|at|lauramello.org
Brazilian born composer, musician, performer
DJ Grooviana - www.mixcloud.com/Grooviana

Stefan Troschka is a sound artist and multimedia composer based in Hamburg. His work relates to the interplay between auditory and visual spaces. His installations and pieces feel like staged, experimental setups that reinterpret spatial perception. His musical practice is driven by a commitment to experimental and innovative approaches. Noise music, DIY electronics and sound design form its basis.

Your Favourite DJ's Mom's Favourite Station.

Broadcasting live from Coal Drops Yard, London Tues-Sun 11-11

VICTOR GALLARDO | Compositeur
Musique électroacoustique | instrumentale | mixte
MX-FR

New tracks tagged #Live electronics