recorded 7.6.25

saxophone: Marko Dzomba
live electronics: Timo Wallna

touch grass

stardust (2025)
for organ and live electronics
2-channel binaural

first performed at the St. Ursula's Church, Vienna
june 11, 2025

performers:
	• organ (Hradetzky-Orgel): Valeria Lanner
	• live electronics: João Pinto

recording: Karlheinz Essl
post-production: João Pinto

special thanks to Karlheinz Essl and Jeremy Joseph

"stardust" is an improvisation-based piece for organ and electronics that explores light, space, and texture. wide, flickering chords on the organ build a luminous harmonic field that seamlessly blends with the electronics, which—entirely derived from live sampling of the organ—zoom in on its surface. fragments are stretched, granulated, and layered in real time, creating a spectrum of textures: from vast, resonant masses to delicate, dust-like noise with no pitch left.

the title reflects this dichotomy: the monumental and the microscopic, the radiant and the fragile. organ and electronics merge into a single entity, forming a sound world larger than the instrument itself. one that hints at the vastness of the universe, full of invisible particles and distant life waiting to be discovered.

painting: Untitled #1, 2016 (Vija Celmins)

stardust (2025), for organ and electronics

20 minutes of industrial and oscillator improv, for advanced meditators ￼￼

Spectral Drift

äänimeditaatio (sonic meditation), for cello & live electronics (2024). composer by lucía broto.

"focus on the space. listen to the room; the sounds around you. be aware of your breathing. // feel your feet on the floor; connect with the ground. listen to the sound of the earth. // remember the first sound you heard; picture it as accurately as possible. let it wander through your mind. // imagine your favorite sound. focus on its pitch, duration, and timbre; how it makes you feel… // now, blend these three sounds with the room. place them in the space, and let them resonate within you."

Carla Artigau, cello
Lucía Broto,  live electronics

Premiered at esmuc on November 29th 2024.

äänimeditaatio, for cello & live electronics (2024)

In this episode of Poducer, recorded live at Summer’s End Smokeout, we sit down with Manic Focus. The genre-bending producer who has built a reputation on soulful beats, heavy grooves, and an unfiltered approach to storytelling through music.

From his first concert memories to the dynamics of working with his brother as both manager and creative partner, Manic Focus opens up about the honesty, trust, and tension that shape his art. We dive into his unique production style, how he avoids chasing trends by designing sounds with swing and swagger, and the lessons he’s learned from years of performing on stage.

He also speaks candidly about living with bipolar I, how music serves as his medicine, and why being open about mental health matters not only for himself but for the wider community of fans and artists. Along the way, we touch on his biggest live inspirations, creative rituals, and what it means to keep growing while staying true to your sound.

🎧 Listen to Manic Focus: https://manicfocus.com
📲 Follow Manic Focus: https://www.instagram.com/manicfocus
🎙️ Follow Poducer: https://linktr.ee/poducerpodcast

Chapters:
00:00 – First Concert Memories (Pretenders & B-52s)
01:12 – Working With His Brother as Manager
04:23 – Early Inspirations & Making Beats
05:42 – Sound Design, Wobbles, and Avoiding Trends
10:41 – Music, Mental Health & Bipolar I Journey
12:40 – Game-Changing Concert: Moby’s Play Tour

The Podcast for Producers

Watch Video

Summer's End Smokeout 2025: Manic Focus

A live modular improvisation inspired by the perspective of a bird flying above vast landscapes.
Through layered drones and shifting textures, the piece paints the movement of clouds, forests, and rivers seen from high above.

Recorded in one take, no overdubs.

새눈 (Bird's eye)

When I was young

Then I was older

I opened my heart and all the blood poured out

Also you where stoned

Meditation, Medicine, & Strange and Psychedelic Music

The Podcast for Producers



Watch on YouTube:
https://www.youtube.com/channel/UCijzViDaoVljjDXyEPTIwyQ?sub_confirmation=1

Art by: www.henryfeldman.com

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

Nicolás Alexander Kretz



Spielte in verschiedensten Bands Gitarre und Elektronik.
Studierte Elektronische Komposition an der Folkwang Universität der Künste in Essen. Arbeitete dort viel im Bereich Physical Theater. 
Gitarre + Synths bei MÅRTHA
Lichttechnik+ bei Kammerelektronik.
Komposition und Live Performance für Montserrat Gardó Castillo und Petr Hastik
Gewesen:
Elektronik bei SINTAKT
Einer von Dreien bei The Sanity Were leaving Gods.
Engagiert bei Stromspiesser, 

Born 1980 near Karlsruhe, South Germany, guitar&electronics in several bands.
Since 2011 student in Electronic composition at Folkwang University of Arts, Essen. Doing a lot Physical Theatre.
Sound at Neuer Tanz Düsseldorf
One of Three in The Sanity were Leaving Gods.
Maker in Stromspiesser.
Lighting+ at Kammerelektronik.

Siehe auch:
https://soundcloud.com/thesanity
https://soundcloud.com/stromspiesser
http://kammerelektronik.tumblr.com/
https://soundcloud.com/kammerelektronik

Hier:
Eigenes und Kollaborationen

Argosound = Früher
Jason und die Argonauten = Noch Früher

New tracks tagged #liveelectronics