20250707

20270708

another ambient prelude on a bach chorale.

for live electronics; performed with ableton live & max for live.


chorale_prelude no. 3

My residency at Künstler*dorf Schöppingen has been full of discoveries—both internal and external—and I truly feel I have met people and encountered ideas that will carry me for years to come. It began with artist presentations by Imane Zoubai and Sohorab Rabbey, both of which struck me like lightning. One of Imane’s slides featured her drawings. On a piece of weaving-pattern grid paper, she had meticulously drawn dots, and the way these dots formed grouping patterns created a sense of rhythm. Indeed, as Imane explained, her work is inextricably tied to the notion of music—a connection I, as a musician, deeply resonate with.

Imane also served us tea on several occasions, in the traditional Moroccan way. Sweetened green tea with mint, poured from a metal pot into glasses from a distance—creating foam on the surface of the tea—was always refreshing and calming. She explained that the foam helps protect the tea from desert sand.

My piece Tea Ceremony with Grains is a synthesis of these experiences. I studied Imane’s drawing closely and reinterpreted the patterns to create a score—something akin to the piano rolls used in player pianos. The information in the score triggers various aspects of a water-like soundscape. Part of it is a recording of Imane pouring tea from a distance into a glass; another part is digitally and artificially generated. To imitate the sound of tea being poured, the piece gradually transitions from one chord to another—a process that at times manifests as a change in brightness, and at other times as a perceivable harmonic shift.

I dedicate this electronic work to Imane Zoubai and to all the fellows and staff members I have come to know during my time at Künstler*dorf Schöppingen. I look forward to creating many more pieces like this in collaboration with the wonderful people I have met—even if we are far apart.


Tea Ceremony with Grains (Homage to Imane Zoubai)

PUnK

This is a preview of [Wataru Abe - Oblivion].
https://distra.bandcamp.com/album/oblivion

The full-length album, "Oblivion," features 10 tracks themed as the soundtrack to a fictional sci-fi film.

This work continues to utilize oriental motifs, industrial beats, and a variety of noises. However, it minimizes concrete musical elements like scales to maintain an abstract quality. The music is designed to elevate background scores into full-fledged musical pieces that unfold through various scenes.

The production was created exclusively using Max/MSP. Some tracks were even recorded in a single, improvised take, with a focus on sound dynamics, range, and the abstract atmosphere and transitions between sounds, rather than prioritizing beats.

This album is an attempt to elevate the mood of various cinematic scenes, moving beyond simple background music and into a more musically sublime realm.



Oblivion

[Preview]Wataru Abe - Oblivion

prZr

All Dogs Hate Demons perform "GAB"

Gabby Isaac, laptop
Alex Temple, Korg MS-10
Briggs Kennedy, flute headjoint
live at King Pigeon Thrift, Phoenix, AZ (6.27.25)

GAB (All Dogs Hate Demons, 6.27.25)

All Dogs Hate Demons perform "UWU"

Gabby Isaac, laptop
Alex Temple, Korg MS-10
Briggs Kennedy, flute
live at King Pigeon Thrift, Phoenix, AZ (6.27.25)

UWU (All Dogs Hate Demons)

early work-in-progress, far from being finished.  sequenced with Renoise, most (non-percussion) sounds were done with FM and experimental sinusoidal Max/MSP patches exported as VST

quaternion_a_2@2025_09_25 (work-in-progress)

Yoshiaki Onishi is a Japanese-American composer, conductor, and clarinetist. As a composer, he is interested in exploring a wide range of instrumental timbres and finding ways to incorporate them in musical syntaxes and forms that disrupt the sense of expectation. He has worked on commissions that have come from such festivals and organizations as Klangwerkstatt Berlin, Philharmonie Luxembourg, Takefu International Music Festival, and Gaudeamus Muziekweek, and his music has been performed by ensembles worldwide, including New Japan Philharmonic, Asko|Schönberg Ensemble, Klangforum Wien, Nieuw Ensemble, Distractfold Ensemble, Ensemble Intercontemporain, Quatuor Diotima and JACK Quartet. He is the recipient of the 2018 Guggenheim Fellowship, the 2018 Fromm Commission, and the Gaudeamus Prize 2011. Edition Gravis in Berlin, Germany publishes his music. As a conductor deeply engaged in promoting the music of today, he is Co-Director for the Mizzou New Music Ensemble and was one of the founding members of Ensemble Exophonie Tokyo. Other ensembles he has worked with as a conductor include Nieuw Ensemble of Amsterdam, ECCE Ensemble, Wet Ink Ensemble, Columbia University Orchestra and the University Philharmonic Orchestra of the University of Missouri. Increasingly active as a clarinetist and improviser, he has collaborated with composers George Lewis, Carolina Heredia, Oswald Huỳnh, Bret Bohman, and Andrew Crossley. Together with Santiago Beis, he plays in the Onishi-Beis Duo, an electroacoustic improvisation duo. Onishi received his doctorate in music composition from Columbia University in 2015. He is currently Assistant Professor of Music Composition at the University of Delaware School of Music. 

Profile Photo © 2015 by Stefaren.

Latest Albums :
https://senglarbraille.bandcamp.com/album/jt-chapman-senglar-susurrus
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https://elmuellerecords.bandcamp.com/album/hum
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https://martinhoogeboom.bandcamp.com/track/fearless-senglar-version-a

"Little more than kitschiness, pretense, and vulgarity"
—Oberon's Grove

Just some dude who's dabbled in tracker-style music since the late 1990s.

New tracks tagged #max/msp