An Array Of Reversals

The Splintered Accord

Discete Gradients

Bowls In Bows

Delayed Segmentation

Algorhythmic Radiance

Working on a sampler instrument
https://github.com/unremarkablegarden/shipwreck

Shipwreck Demo

Glitchy dub echoes with a dark brooding wavetable bass.  Waves of plucks echo into a rhythmic electrical storm until they melt together into nothing.

Northern Lights

Cloud Mechanics:
A kinetic interplay of granulated textures and analogue synth waves, evoking the precision and intricacy of a machine in motion. The piece explores layers of sound that build, shift, and dissolve like interconnected gears in a delicate, evolving system. It’s less about ethereal clouds and more about the mechanics of transformation and flow.

Cloud Mechanics

String Quartet No. 3 is the result of exploration of technology and tradition. The piece was
composed entirely within Ableton Live, utilizing a custom Max for Live (M4L) patch that I
developed using Max/Msp visual programming environment. At its core, the composition is
driven by four oscillators that interact and blend, each contributing to the sonic fabric of the
work. The transcription of the material from Ableton into conventional notation was undertaken at a subsequent stage of the process. These synthesized elements aim to engage with and expand upon the timbral palette of the string quartet, an ensemble whose sonic possibilities have been continually redefined since its establishment in the common practice era.

This work received its premiere during the MIAM 25th Anniversary Gala in November 2024, commemorating a quarter-century since the department's founding.

Conductor: Kamran Ince
Violin I: Ceren Türkmenoğlu 
Violin II: Seçil Işıksoy 
Viola: İlay Öztürk 
Cello: Gözde Yasar

String Quartet No. 3 (2024)

maybe if i make more of these ill make an EP and post it to spotify who knows

eight

rose

tail

Don't thrust the glitch

Born in Lecce at the end of the 90s, always interested in music since birth. 
Thanks to his father and his brothers, dj, vocalist and technician, he started learning about djing when he was very very young. The years passed, the passion for music was getting always bigger, his guitarist mother gave him the passion for playing the guitar and made him start to study music.
In 2011 he starts producing his first records, learning some technics about audio, acoustics and IT fundamentals.
Because of this he started studying IT to implement his knowledge about musical IT and create his personal sounds. 
His research for new music and vibes and his love for traveling took him to Berlin, where he found a new world and a new music conception.
He discovers industrial and starts experimenting and researching new sounds and rhythms
In 2015 his style can be considered evolved, characterized by melodies and deep basses. 
Now he performs in some of the most famous local clubs such as I'M Industrie Musicali and Guendalina, number one club in Italy.
He boast much international names in his curriculum and is considered one of the best revelations in Lecce.



Promo: promo.francescosiculella@gmail.com

liminal! contact me on discord or instagram! discord: @sugartab

Maria Aristotelous (Art Scientist ,Philosophical Artist ) Artistic Project and Studio Practice .
To be updated soon with bio etc .

ℜ𝔢𝔩𝔢𝔞𝔰𝔢𝔰
Northern Electronics — Scandinavian Swords IIII: Atlas of Visions Pt. I (NE74, 2020)

𝔗𝔲𝔰𝔞𝔤𝔦 𝔏𝔦𝔳𝔢 (𝔓𝔞𝔰𝔱)
29/9/21 — Oxygen, Tbilisi
24/9/21 — Dilijan, Armenia
6/8/21 — Drifts, Helsinki
5/1/21 — Samara, Russia
14/2/20 — OHM, Berlin
6/2/20 — Trauma Bar, Berlin
17/1/20 — Golden Pudel, Hamburg
27/10/19 — Disco Melancholie, Berlin
19/10/19 — OHM, Berlin

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou was born in Thessaloniki, Greece. He studied composition at the Aristotle University of Thessaloniki, Greece, with Dimitri Papageorgiou and in the University of York, UK (PhD) with Thomas Simaku. He also spent a year at Hannover Musikhochschule studying acoustic and electronic music with Joachim Heintz, Gordon Williamson and Ming Tsao. He is an Assistant Professor of Instrumental and Electronic/Computer music Composition at İTÜ, Center for Advanced Study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. He received the third prize in the Karol Szymanowski composition competition 2023 with the work Motion, in Two, for solo violin.

His pieces have been performed by many ensembles in several festivals in many countries such as Greece (OutHear Week, DissonArt ensemble, Off Borders Festival), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker 2018), Italy (Soundiff project), Turkey (MIAM 20 year-Gala), Iran (Reza Korourian Awards electroacoustic music festival 2017), Hong Kong (AMGA ensemble) Spain (Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival, KUG), the UK (Resonance FM 104.4, Kinetic nights festival, Manchester, Gallois trio, Diotima Quartet, Psappha ensemble, Resonance FM, RNM Call 2022), France (Viberation#2, Réseau inDREAM Network), the USA (MISE-EN festival, NYCEMF, Impulse festival 2024), Argentina (Atemporánea festival 2022), Romania (EELISA 1st conference, 2023) and Switzerland (UMS n’ JIP).

An upcoming publication by Manolis in the MIT Computer Music Journal (Volume 48, Issue 4) explores the impact of emerging AI technologies on music composition and performance. It also proposes an alternative approach to generating textural and timbral transformations in mixed-media composition through the use of a dynamically trained neuron.

Musical Practices in the Contemporary World is his first book, where he tries to sum up what has happened in New Music after the 70s, making meaningful connections with the past and providing suggestions from contemporary repertoire. 


For a detailed CV follow this link: https://www.dropbox.com/scl/fi/ph47cs1c2geuni87r4yhp/CV.pdf?rlkey=eejehdl2u0fc9kgdxcenlhsij&st=6rjxtt9z&dl=0

hypnopad plays live electronic drums but it doesn’t sound like drums.

New tracks tagged #Max for Live