Composition, arrangements, production - Benjamin Gibert
Mixing and mastering engineer, additional production - Guillaume Saint Etienne

Taste of Sap is an immersive vocal experiment, born from a long improvisation session with a harmonizer. The title is sensual — it means “the taste of sap.” The track gradually thickens, like sap itself: fluid, viscous, enveloping. Conceived as an end-of-night chant around a fire, it searches, finds form, and eventually becomes a ceremonial anthem at dawn.

No language is used: only raw vocal material, spontaneous, organic phonemes that emerge viscerally. The voice is the main musical instrument.

A small vintage, portable Casio synthesizer punctuates the whole piece in playful dialogue with the vocal improvisations. Taste of Sap evokes a primal, ancestral imaginary and prepares the arrival of the sun at daybreak.

Taste of sap

This is the 3rd track for the album The King Of Space And His Courtyard Of Chaos
I hope you enjoy this track

Darkest Day, Brightest Night

My absolute favorite song I've made of mine. Enjoy!

Hidden Hearts [SYNTHWAVE]

And now for something completely different. 

Well, not completely, but it's done with a guitar instead of a synthesizer. Background Soundtrack / Ambient piece with some harmonics from my Telecaster knock-off, with a TC Electronic Flashback 2 delay pedal, plus a few notes added from Native Instruments Pro-53 as well. Looking through all the things I've recorded over the years shows quite a bit of variety, and sometimes it's just something very experimental like this.

The photo is of what might look like a piece of junk, but it's a broken and worn keychain that has meaning to me. On one side it says "Live", while on the other it says "Celebrate each day".

#SoundCloud ☁️

timeKeeper

timeKeeper ⩇⩇:⩇⩇ (Electric Guitar + TC Electronic Flashback 2 + Pro-53, Recorded March 2024)

this is not an actual track just a chirish734 edit you will only find this on sc

lokye x terrellious aka realm da kid. ***fucking with a real artist*** prod. dj chirish734

884 - Harmonics ambiente

Harmonicus

A ritual born from madness and devotion. Epistle to the Queen of the Cull is an original track by FuckFace Whisperer, inspired by the psychological darkness explored in Monster: Season 3 (Netflix). The song reimagines obsession, control, and decay as a cyber-ritual — a letter whispered through distortion to a queen who rules over ruin. Chains for rhythm. A skull for a bell. Worship through chaos.

FuckFace Whisperer - EPISTLE TO THE QUEEN OF THE CULL

went a little wild this time :") NOW FUCKING DANCE

seeyou

Iridescence was originally commissioned by cellist Natasha Farny. Natasha asked for a piece for singing cellist, which piqued my curiosity. As I started working on the piece, I was struck by the similarity in timbre between the cello’s harmonics and whistled notes; thus, instead of writing for singing cellist, I decided to write it for whistling cellist. I also decided to work with scordatura, or an alternate tuning, to be able to access a number of harmonics I wouldn’t have with the cello’s ordinary tuning. 
As work on the piece progressed, cellist Stephen Marotto suggested the whisled part be turned into a fixed media component. When crafting the electronics part, I decided to use the timbre of bowed crystals, rather than whistled notes.

Iridescence (Tornasol)

filigrana (2025)
for prepared viola

commissioned by Divertimento Ensemble

written for and premiered by Daniele Valabrega in sofia, bulgaria
august 2, 2025

recording: Kremena
post-production: João Pinto

binaural mix — please use headphones!

special thanks to Mirela Ivičević

filigrana takes its name from the ornamental technique of filigree: a form built from fine threads, carefully twisted into delicate patterns. the piece follows a similar principle. it uses a limited set of musical gestures that are woven together into a flowing, symmetrical form. sounds return in new variations, and the transitions between gestures are smooth and organic, as if one shape folds into the next.
the viola is prepared with a tightly stretched elastic band, tied around the strings near the scroll. this acts as a kind of secondary bridge, subtly altering the instrument’s natural harmonic landscape and opening up new sonic possibilities.
many of the gestures involve rounded movements, quiet textures, and fragile sounds — chirping fragments, thin high harmonics, airy noise — interrupted now and then by sharp accents. everything is light, detailed, and slightly unstable, like a piece of threadwork that holds itself together through tension.

artwork: João Pinto

filigrana (2025) for prepared viola

sliver (2025)
for amplified string quartet

written for the Quatuor Diotima Academy

first performed by the new cretan quartet in metz, france
february 14, 2025

studio recording performed by:
violin 1: Reina Yoshioka
violin 2: Natália Kubalcová
viola: Jingyi Zhai
cello: Irini Liu

recording: Adrian Fritsche
editing & post-production: João Pinto

binaural mix — please use headphones!

special thanks to Clara Iannotta and Quatuor Diotima

sliver is an exploration of radical reduction, built from a single basic idea: a smooth glissando between two tones. yet this glissando never truly appears; it is fragmented from the very beginning, leaving the listener’s mind to imagine a continuity that only exists as residue and implication.



the piece unfolds in two contrasting worlds. the first is dry, tactile, and close to the instrument’s surface, shaped through frictional textures with a plastic card. material is precise, physical, and fragmented, with no sustained resonance. at the structural axis, a threshold opens, and the second world emerges: spacious, reverberant, dreamlike. for the first time, tones are allowed to breathe and expand, creating the sensation of drifting away from the physical into a more suspended state.



occasionally, short intrusions from the first world attempt to pull the music back to its original ground. gradually, these attempts lose force, and the dreamlike realm absorbs everything, until orientation dissolves and the piece fades into quiet, irreversible oblivion.

artwork: from the exhibition "Al Amakine, une cartographie des vies invisibles", 2017 (Abdessamad El Montassir)

sliver (2025) for string quartet

Metzo Trachill - Desert Pulse

Crappy Halloween

It Sparkles in Christmas

Harmonic Splendour

Music composed, performed and produced by Dennis Hitchcox. Sonic exploration, instruMENTAL meditations and eclectic experimentation using a blend of acoustic, electronic instruments with analog and digital recordings.

We pretty much started when we were kids, but we were really crap haha.. but we have been getting better and better so we thought why not just upload our music on the internet! We do all our recording in a little room in a shed which we call "The Dog Box".

Over the years the lineup has changed, at this stage M.U.S is a solo project that does collabs from time to time.

Its actually really hard to describe the soundscape of the music because it vary's so much.

The first three albums we recorded, (two of which are ancient made when we were just young lads :p), sound like murder haha.. But the stuff that's being uploaded now is recent, which should be a big YAY! For you cause you won't die from bleeding out your ears :)

Influences vary a lot too, some of my influences include: Steve Vai, Joe Satriani, Eric Clapton, Devin Townsend, Metallica, Tool, Joe Bonamassa, plus a whole bunch more!

There's probably a million chaps better out there but meh, I still love to make music, mistakes and all.

I hope you enjoy some of this music! Or all of it..

Been makin' music and uploading them for the past 2 years. Decided to upload my music here as well since it wasn't uploaded along with Spotify and all those platforms. Hope you enjoy! If you want my other songs visit my Spotify and YouTube Music channel! :) I make ALL kinds of music, I don't stick to one genre, I find that boring and yes I do label what genre of my music is to make it easier to find them!

Spotify: https://open.spotify.com/artist/0148V6ER1ECSM1Jly5pAB5?si=9mWqSxlPSCGN8wQ68i67_w

YouTube: https://youtube.com/@christophercappstopic?si=azGg3SlX5TqGGRhR

Tinkerer of many sounds, mostly just for fun. Player of many things, but a master of none.

dj chirish734 is back mane, slowed n throwed dj,  ZION RAGGA SOLDIER beat maker junglist reggae lover, #ripdjscrew #ripdilla #ripnujabes graffiti love DNB PLAYA

I write my own instrumental music on acoustic and electric guitar.

Benjamin Gibert ventures into mountains, forests and megacities in search of secret sounds and stray signals. He collects raw sonic material — using a microphone and a notebook — then plays with nesting, soldering, fragmenting and merging sounds. His sonic objects often flirt with acoustic or electronic instruments, forming abstract narratives and opening doors to invisible worlds. His work seeks to create immersive forms where reality and imagination, landscapes and fiction coexist.

Coming from a background in contemporary dance, he develops a physical and spatial approach to sound — conceived for deep listening and movement. Field recording is his main tool, which he combines with electronic textures, evolving rhythmic structures, and a singular use of the voice: without words or language, treated simply as raw, organic, vibrant material.

He has completed numerous residencies in France, New Zealand and Chile, and has performed in France, Spain and Japan.

He released Gemmes (2018), an EP composed for the Royal Abbey of Fontevraud; followed by Taihua (2019), an album created and produced in New Zealand. His upcoming EP, Nightingales, will be released in summer 2025. It is a musical fiction at the crossroads of IDM, organic house and ambient, imagining what a secret forest rave might sound like.

Benjamin Gibert’s work stands out for its way of connecting places, natural sounds and electronic textures. He is drawn to liminal spaces — between wakefulness and sleep, human and non-human, natural and synthetic. His sonic universe is shaped by influences ranging from Oneohtrix Point Never to A.G. Cook, as well as Steve Reich, Björk and D’Eon.

i dont believe in art, i believe in artists. (M. Duchamp)

Rock/ballad/reggae/electronic songs with melodies, verses, chorus, bridge, progression, climax, and all that kind of old stuff. And new sounds too.

New tracks tagged #harmonics