Inflorescence

Peisaj cu stâlpi (#eurorack modular synthesis)

Recorded, mixed & mastered on 29 Oct 2005 & 30 Apr 2025 by Jim Lemanowicz at Stockhausen Sound & Blissville Electro-Magnetic Laboratories of Massapequa. 

Synths, augmented piano, voice & effects.

This original version of "Let's Leave Steady Divided" was submitted as part of Naviar Haiku 591: Dreadful The Stream.

steady spring rains...
both dream and reality
Mount Yoshino!

by: Ōshima Ryōta

Ōshima Ryōta was a Japanese poet of the Edo period. Some sources say he was a disciple of Yosa Buson, while others say his master was Hattori Ransetsu. He's mostly remembered for his essay “Bashō ku kai” 芭蕉句解 ('Study of Bashō's haiku') published in 1759, a magnum opus of his studies and literary theories on Matsuo Bashō's work.

Photography - Jim Lemanowicz, 07 Aug 2016, Massapequa, NY, USA

©2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge

Let's Leave Steady Divided (naviarhaiku591)

Plongez dans mon univers Sonore: Écoute & Ressens

Rediscover the soul of your childhood

Edited, mixed & mastered on 01 May 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

Layered guitar synth

This piece evolved through three distinct passes with the last having three of its own:

1 - Almost every day, I record something. On April 13, I recorded about 20 minutes of guitar synth with a voice sound using a cheap SX guitar as the controller. I recorded with DAW effects but for this piece, I used the raw recording without effects. The synth has some built-in though.

2 - On May 1, I spread this recording across 15 tracks, stretching some to fit the same duration and adding leftover bits throughout. I panned them across the sound field. Though I created a wall of sound and did a rough mix, I felt this arrangement wasn't working for me.

3 - Inspired by fabric patterns and metal chains, I drew a subtractive volume automation on one track, moving down and diagonally, bouncing off the side and back until reaching the 15th track. I then drew another pattern at the beginning of the last track, moving up diagonally. As the piece took shape, I added a third pattern in untouched spots where it felt right. These patterns began precise but became organic—like a handmade garment rather than a machine-made one. The final run evoked an old painting shirt, and that's when I knew it was complete.

Photography/Art - Jim Lemanowicz, Aug 2019, Massapequa, NY, USA - at the time, an in-progress painting I called “Injury Or Suffocation.” 

©2019, 2025 Jim Lemanowicz

---

This original version of “Stepmother In Chains” was submitted as part of Disquiet Junto Project 0696: Chain of Layers. The Assignment: Make music change by altering its layers.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696

Stepmother In Chains (disquiet0696)

Currently being exhibited as part of 'The Plight of the Curlew' exhibition at Mid Wales Art, the distinctive calls of the curlew sit alongside layered vocals – both an acknowledgement of human intervention in the natural balance and an offer of friendship.

We Respond (Plight of the Curlews)

MIMINOIMI podcast #26
- In Room 278 -
By Masato Hoshino
@experimentalrooms

Experimental Rooms is approaching its 50th event, and its publishing label has now released five works.
As a moment of reflection on its journey so far, this mix was created to present a snapshot of the project’s current state.
It features all 30 tracks released to date, arranged in order with each excerpted at two minutes.
The title refers to the room number where I produced these works.
We hope you enjoy this as both a digest of the label’s output and a record of the path Experimental Rooms has taken so far.

Experimental Roomsのイベントシリーズがまもなく50回目となり、作品出版レーベルは現在5作品。これまでの活動を振り返るタイミングとなり、現段階での「現在地」を示すために今日までに発表した全30曲を2分ずつ順番に配列させたミックスとしました。タイトルは制作時に滞在していた部屋番号。ここまでのExperimental Roomsの軌跡であり、レーベル作品のダイジェストとしてお楽しみ頂けたら幸いです。

-Tracklists-
01 Masayuki Taguchi - Drizzle
02 Pal - Shel l1.5
03 AM-F7 - The Waning Moon
04 Uzu - Niugini 54 (Papua)
05 Youki Noseyama - Tairitubutu No Touitu
06 Reishu Fukushima + Satoshi Fukushima - 《・ / : 》 (2008-2020)
07 DJ Desert - Tumba Lela-Lelan
08 Mevius - Cloud
09 Yu Kamata - Seika
10 Tokio Hasegawa - Nami
11 Tokio Hasegawa - Stone Music at Manipur Sangai Festival in India (2019)
12 Tokio Hasegawa - Stone Music at Chiang Kai-shek Memorial Hall in Taiwan (2018)
13 Tokio Hasegawa - Stone Music at Ryutopia Niigata City Performing Arts Center in Japan (2021)
14 Carl Stone & Ken Ikeda - Core
15 Carl Stone & Ken Ikeda - Body Clock
16 Carl Stone & Ken Ikeda - Belief
17 Carl Stone & Ken Ikeda - Kekkan
18 Reishu Fukushima + Satoshi Fukushima - “#33” (2021)
19 Reishu Fukushima + Satoshi Fukushima -  “One” for solo shakuhachi and computer (2022)
20 Reishu Fukushima + Satoshi Fukushima -  “Theme and Variations” for solo shakuhachi and computer (2023)
21 Reishu Fukushima + Satoshi Fukushima -  Improvisation in different time-spaces (2022)
22 Akio Suzuki - Kikkokikiriki
23 Akio Suzuki - Bokorobonboko
24 Akio Suzuki - Kyurukyuttsu
25 Akio Suzuki - Hyarihyariu
26 Akio Suzuki - Gurunmechuru
27 Akio Suzuki - Jarujiruyaji
28 Akio Suzuki - Konrokokonro
29 Akio Suzuki - Ohohhoo
30 Satoshi Fukushima - Theme and Variations (Demo)

-Selector-
Masato Hoshino
@experimentalrooms

Masato Hoshino launched Experimental Rooms in 2006, a music event series based in his hometown of Niigata. The series brings together cutting-edge artists—both local and international, well-known and emerging—across all genres, staging performances in unique venues such as temples and nationally designated cultural properties. With each event, Experimental Rooms creates a one-time-only “experimental space,” drawing audiences from within and outside the region. The 50th edition is scheduled for June 2025.
Since 2020, Hoshino has also operated a publishing label under the same name. His activities have expanded beyond Niigata, including co-organizing events at Sado Island’s Earth Celebration, producing special programming for DOMMUNE, and appearing on SONAR MUSIC.
In addition to organizing events and releasing works, he contributes to music publications, writes liner notes and artist commentary, and contributes to music guidebooks as a writer.

星野真人

2006年より地元新潟で音楽イベント・シリーズを主催するExperimental Roomsを始動。音楽ジャンルや有名無名を問わない先鋭的な国内外と地元のアーティストの共演、有形文化財や寺院などの様々な会場設定、県内外の来場者からなる一期一会の「実験の場 （＝エクスペリメンタル・ルーム）」を繰り返し創り、2025年6月に50回目の開催を迎える。2020年より同名による作品出版レーベルとしての活動も開始。佐渡でのアース・セレブレーション共同企画、DOMMUNE特番やSONAR MUSIC出演など、新潟市外・県外でも実験活動の場を広げ始めている。また音楽誌のコントリビューター参加、ライナーノーツや作品コメントの執筆、ガイドブックへの寄稿など音楽ライターとしての活動も行っている。

#26 - in room 278 - by Masato Hoshino

sound art for disquiet0696.

More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696/

hendecad cascade (disquiet0696)

Art Deco II (modular synthesis & random fm radio live remix)

Bubble Variations 8 by Elissa Goodrich, 7min 33 sec 
audio from the audio-video art work: The Bubble Variations (2025) by Elissa Goodrich and Michael Carmody 

The struggle of the bubble to be itself. In an ideal universe, a bubble is a simple sphere. In a turbulent universe, a bubble wants to return to this equilibrium. The restoring force is pressure.

In this musical composition I compose both with and for acoustic instruments, and with Professor Richard Manasseh and Dr Filippo Nelli's synthetic respoductions of actual bubble sounds / amplitudes.  I merge field recordings and the sampled 1912 tune with original ensemble composition and the synthetic bubbles' sounds

orignal music and sound design by Elissa Goodrich
Sampled musicians - Gideon Brazil - woodwinds, Elliott Folvig - electric guitar, double bass -  Miranda Hill, vibraphone - Elissa Goodrich
Music excerpt: I'm Forever Blowing Bubbles (1918) by John William Kellette, archive recording - Ben Selvin's Novelty Orchestra (1919)


Bubble Variations (2025)

Like many people, I don’t always like crowds. Too much stimulus. Too much noise. I’ve always loved being in a city though, among people, and hearing distant music: a saxophone from an upper storey window, singing or chanting from a temple or church, someone playing a simple pipe on the side of the road, hoping to make enough to buy food to eat. The heartbeat of a culture is not in its noise, but in the sounds the noise tries to drown out…...

In crowds

Recorded, mixed & mastered on 07 May 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Guitar, ebow, prepared guitar, bow, guitar synth, effects.

This original version of "Reply Hazy, Try Again" was submitted as part of Naviar Haiku 592: Slanting Sunlight Rays.

slanting sunlight rays
a warm hazy afternoon
the forest to hear

by: Marc Sheridan

Marc Sheridan is an ever-curious person who loves what is just around the corner: the unusual and the mysterious. Even everyday objects and scenes can always be viewed differently.

He has been published in numerous magazines in the US and the UK and has exhibited up and down the West Coast of the US for the past 23 years.

Infrared photography/art - Jim Lemanowicz, 27 Apr 2009,  Massapequa, NY, USA. 

©2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge

Reply Hazy, Try Again (naviarhaiku592)

sound art for disquiet0697.

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/



unmaking music (disquiet0697)

Edited, mixed & mastered on 08 May 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

Synth & effects

Having worked with musicians who aren't always mindful of leaving space in their playing, I dedicate this piece to them. I drew upon that experience while creating this work.

Photography/Art - Jim Lemanowicz, 01 Sep 2002, Huntington Station, NY, USA. 

©2002, 2025 Jim Lemanowicz

---

This original version of “Stealing Third Base” was submitted as part of Disquiet Junto Project 0697: First Third. The Assignment: Record the first third of a trio.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

Stealing Third Base (disquiet0697)

404 E

‘The Sound of Pac-Man Dying’ is a collaborative sound piece composed of audio samples collected over the course of a year from 61 individuals responding to the question “In the Pac-Man video game, what does it sound like when Pac-Man dies?”. Contributions were recorded in restaurants, bars, museums, airports, private homes, public parks, coffee shops and city streets in the U.S. (California, Oregon, Vermont and Florida); Australia (Sydney, Canberra and Melbourne); and Canada (Winnipeg). The piece investigates collective knowledge, participatory art, memory, and pop culture.

The Sound of Pacman Dying

Artist and non-musician making visionary sound art with found objects.

I collect litter and make small scale sonic sculptures and rudimentary instruments. When I play them I’m thinking of natural rhythms like the wind in the trees or animal movements.

「MIMINOIMI – Ambient / Week – 」
第3弾 “Sense of Gradation” 開催
MIMINOIMIは、フェスティバル「MIMINOIMI – Ambient / Week – 」第3弾 を2025年5月5日（月・祝）～11日（日）に開催。
＜出演＞
高田みどり、E.O.U、Chihei Hatakeyama &Moskitoo、Phew & Ayami Suzuki、Satomimagae、iu takahashi、塩高 和之(琵琶）& 藤田晄聖（尺八）、深草アキ(秦琴)、畠中実(トーク)、RENTaCAR
ほか

https://www.miminoimi.me/

-Adventurous music
-Connecting and exchange
-Diverse collaborative projects

MIMINOIMI (from JPN), the organizer of the festival Ambient / Week, is now launching a podcast.
With a focus on introducing adventurous music, building creative networks domestically and internationally, and fostering collaboration across diverse fields, MIMINOIMI aims to bring these goals to life even further. Along with producing live shows and talk events, MIMINOIMI is launching the ”MIMINOIMI podcast”.

In the post-pandemic era and the age of streaming, the diversity of online music platforms has reached new heights. In this context, the "MIMINOIMI podcast" serves as an experimental space that complements live events, supporting new forms of music distribution, connection, and development.

The podcast will feature a range of content, including ambient mixes by DJs, intimate music selections from musicians’ bedrooms, and various discussions and interviews related to sound and music. These will be shared from multiple angles on SoundCloud.

Making music is about being surprised.
https://www.patreon.com/blisterpop
Linktree for more - https://linktr.ee/blisterpop

I've spent decades as an artist - directing, performing, writing, drawing, designing, photographing.... The area i have paid least attention is perhaps the area that means most to me ... music. Music has always been at the heart of everything I do. I listen to all sorts, especially jazz, classical, world musics and electronica. I love work that sounds a bit awkward, sometime lo-fi and that mixes music, natural sound, speech. I work as a voice over artist so words are important to me. I also work as a coach and mentor to artists at all stages of their careers. I hope you like my contributions.....

DJ Producteur
•••TECHNO/HARD/TRANCE•••😈

New tracks tagged #SoundArt