My mate Pete (Rosen Corporation, S.A. Fred) and had pretty satisfying live DAWles jam session the other night. Everything is improvised on the fly, apart from a couple of pre-programmed drums on the Elektron Model Samples.
Selection of kit: Roland MC 707, Roland TR-8, Roland JX-08, Roland SH-01a, Korg MS 2000, Behringer Odysey, Korg Minilogue...

PEAR Lab - improvised jam 170523

Flight

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept. 

Drawing from the ensemble works of long-standing inspirations Edgard Var&egrave;se, Gy&ouml;rgy Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light &amp; ethereal and dark &amp; dissonant. 

As masterfully demonstrated in the early work of von Oswald and Mark Ernestus' influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald's repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms. 

The compositions were written in von Oswald's Berlin studio on classic synthesizers, such as the EMS VCS3 &amp; AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihim&auml;ki and performed by Vocalconsort Berlin in &Ouml;lberg church in the city's Kreuzberg district, only few metres down the road from where Dubplates &amp; Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. 

The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them. 

The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter's Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins &amp; Moritz von Oswald present Borderland. 

For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.

BANDCAMP

Moritz von Oswald - Opaco

Triple Melting Pot 2024

Cosmic Prophecy

Sinking down where I want to go
The faded colors that I used to know
Falling down you don't want to know
Who I am , where I go, what I know
Living life in a jail cell
How are you doing?  I am very well
This is all that I know I get lost
When I step outside my front door
Looking back and without a trace 
You were gone I can still see your face
thinking back before the dawn
I dreamt you up and just like that your gone

Chorus:
 I breathe in I breathe out

Floating up I can see the sky
As it pulses I can hear it cry
Looking down below my feet
I say goodbye and it's time to retreat
Yeah I've seen what I've seen down below
It's time to come up for air I know
Take my time look around and it's clear
It's time to get the hell out of here
 
Chorus:
I breathe in I breathe out

Buried up to my eyes you can see my disguise
As I rise you decrease in size
Floating here in the air I don't care
Baiting winds they pull me right back there
Feeling cold always cold I exhale so much
But my breathe is just a cloud of dust
Coming back to the ground I can hear your heart pound
It makes a lovely sound

Bridge:  
There are stars out all the time
Like I feel you in my mind


Protons

This song is pretty much all synth so please enjoy.

Echoes

I Watch You When You Sleep (you Watch Me As I Fall)

Gravel Paths

Into nothing

My name is Rick, I'm 16 years old.
I like (making) music, I'm not the best but I enjoy it.

OH I LOVE YOU ALL. PLEASE LIKE MY SONGS. LISTEN TO THEM TO A FEW TIMES FIND SOMETHING YOU ENJOY. FAIRY FOLK POP FUN all about love baby...


At midnight, on March 13th 1991, a basement door opened at Leipziger Strasse 126, Berlin. Through this door, many passed, on their way to defining new terrains in electronic music. There they found a dance floor in the vaults of a closed-down department store, with a unique sound bound to dense fog, building night after night a history that was also a vision of the future. 

This history has seen in Jeff Mills’ first sets on three turntables, Underground Resistance's first live appearances in Europe, grandiose Tresor Park parties, to various chapters of the Loveparade with Sven Väth in the 90s and since then countless generation-spanning parties. These moments represent the highlights of infinite personal clubbing experiences. It is the manifestation of the Berlin spirit, emerging from its considerable strife. This history is not without its complications - from temporary closure by the authorities and several raids in the early years to closure and demolition of the old location in 2005. What followed was years of wandering in exile and, finally, resurrection in the new home in Kraftwerk Berlin.

These stories, conversations and shared experiences within our walls forge a resilience that drives towards a shared ideal, the Tresor sound: community, resistance, and the world to come. This was observed in the newly re-unified German youth, who danced and celebrated together from the club’s inception, and into the present day through ongoing community work in Detroit. 

Tresor Records was founded in the same year and began to serve as a platform for exporting the new sounds associated with Tresor all around the world. Emergent musicians from Michigan, such as Juan Atkins, Underground Resistance and Drexciya, were pivotal in shaping these early years. Their visits to Berlin would kick-start dialogue between the youth movement in Europe and these musicians. This story is one of friendship and community-building, inextricably linked with cities like Detroit, Birmingham or Edinburgh, where like-minded friends built something truly special, where revelatory rhythms soundtrack decaying industry in corrupted metropoles. 

Tresor Records has been the fertile soil for dozens upon dozens of creative minds, from the very luminaries of the scene who developed electronic music over the last three decades through to contemporary protagonists who are currently defining the sound of the future -  A more than 300 strong catalogue displays an unmistakable identity - the Tresor spirit.

To those that have danced before, and to those that will dance in the future: the light at the end of the long Tresor tunnel is a signal. A flicker amidst the fog. This is our future. This is our place.

Drinking air pollution for breakfast
Also interested in putting sounds together. 

Dystopian Techno/Satanic Trance/Dark Ambient 
Contact: 666deathvox@gmail.com

I am a keyboarding and drum hitting inquirer of the music world. 

Also check out @Gravitards

IG: mynameafred
YT: primafacie33

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