"Deep, thoughtful, and experimental, ‘Ghost in The Shell’ from Mindbuffer explodes an IDM vibe like non-other. A heart wrenchingly soulful expedition, it grooves deep into a carefully created chaos, with hiccups of noise and distortion thrown across the listener, much like a fresh splattering of multicoloured paint over a canvas. Confronting expectation mindbuffer still delivers a poignant narrative that is sure to send goosebumps crawling up your spine."

Review by Interval.

Track released on Enig'matik Records' "Painting Pictures on Silence VOL.1" compiled by Sun in Aquarius.

Enig'matik > http://www.facebook.com/EnigmatikRecords
Compilation previews / purchase > http://enigmatiksounds.bandcamp.com/album/v-a-painting-pictures-on-silence-v1

PS that sweet track picture is by our close friend Nicholas Yochum aka Anemone - http://soundcloud.com/anemonick

Buy @ Bandcamp

Ghost In The Shell

Composed, performed, produced, recorded,mixed and whatever-ed by Happy Machine

This track is the result of months of work. It's finally released, started one year ago.
I was getting interested to create a bossa nova-style track and started to write the guitar part in early 2013. The piano and orchestra were quickly added, and the composition process ended during summer 2013.  
After a few weeks to train to play the guitar part, I recorded the whole track one year after in 2014.

I like to collide genres and influences. At first, this track was meant to be a vocal song with a dubstep drop following bossanova verses. But the vocals ended up in a jazzy vibes lead and the dubstep drop was replaced by some electronic glitch manipulations/processing adding density and tension all along the track (made partly using Break Machine, a self-made beat repeat M4L device).

The title comes from the extensive use of contact microphones (type of mics capturing vibrations of physical objects) to create rhythmic elements in this track.

The Inner Sound Of Things

Du bist Du @ Belvedere BERN

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)

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.

A Horizon

Embodiment

Grain Storm

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

This is an improv I did recently for classical guitar and Max/MSP

Ebb and flow by Rob Lunn

Seven Sisters Cliff

..New Album

..Dramatic Syndrome..
© Whitelabrecs

http://yuyaota.designsound.net

..releases

..Zion..
© Fuselab

 Andrew Deutsch / Keith Rowe / Yuya Ota
.. Kannazuki No Uta..
© IEA (Institute for Electronic Arts)

..Arctic April Mother..
© Glacial Movements

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.

If you're interested in what we do and would like to organise a mass MindBuffering near you, please get in contact with us at - contact@mindbuffer.net

For some more chilled stuff from Mitch check out:
http://soundcloud.com/mindtree

happymachinetv@gmail.com
Lucas Naïnemoutou

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