This has a bit of a Clint Mansell vibe to it. 👍

Bathysphere is about exploring the deep and discovering treasures.. Beyond the depths of water, or the depths of sound, this journey may reflect other metaphors of our existence: the inner self, the soul, the hidden universe… or any depth we wish to explore and submerse to, through listening.
The composition is based on recordings of water, combined and transformed: a river, a cave, a waterfall. The idea came from an underwater recording/performance, which was used as the basic material: while swimming in river waters on the mountains of Epirus, I thought of recording the experience of submersion through an air container, like a little “submarine” carrying my ears below the water. For this purpose I constructed a glass case, waterproof , placed a handheld recorder inside and experimented with the sound effects produced by drifting the device below water surface, or by moving it in and out of the water. At a later stage, I visited a cave and a waterfall on the island of Corfu, where I recorded different sounds: water dripping into the reverberant cave, and granular noise produced by the intense flux of the waterfall. At the stage of composition I chose the basic recordings to combine, and simultaneously brought together the inspirational experiences and memories of the spaces in which the recordings were made, and created a musical environment of the deep... This work was created as part of the Erasmus+ programme "the soundscape we live in" in 2019.

Apostolos Loufopoulos studied music at the Ionian University, Greece (Music Degree) and at City University, London (PhD in Music). His work is mainly focused on the composition of electroacoustic music and nature, but also in the inter -contextual approach to music and the convergence of musical genres. His music has been performed internationally in renown festivals of contemporary music (such as ICMC, Synthese, L’Espace Du Son and others) and has received a number of awards at international competitions such as Αrs Electronica (Austria), Bourges (France), Noroit (France), Metamorphoses (Belgium), Space of Sound (Belgium), Franco Evangelisti (Italy), Musica Nova (Czech Republic). Discography includes collections by INA-GRM, Musiques & Recherches, Ionian University, CyberArts, Touch Records and a personal release (CD-baby). His scores have been published by S. Zerboni (Milano) and Just Flutes (London). At a research level, he has participated in international programmes related to the study of the natural environment (Pythagoras, optic-acoustic ecology), at a post doctora level, materializing essays and papers on the artistic exploration and utilizarion of the natural world. He has been organizing member for national and international conferences and festivals on contemporary music and technology (ICMC, Days of Electroacoustic Music, conference on acoustic ecology, audiovisual arts festival and others). Since 2014 he is Assistant Professor at the Ionian University, Department of Audio & Visual Arts. He has also taught at the TEI of Ionian Islands (2006-2014) and the TEI of Epirus. He is a founding member of HELMCA (Greek Union of Composers of Electroacoustic Music) and the Greek Society for Acoustic Ecology. In parallel, he is music producer and director at Studio RED (Athens), specializing in the areas of recording, sampling orchestration and mixing, on various musical styles. 
https://www.youtube.com/channel/UCU5Pfg1dOiOnz6hSVfs918g,       https://soundcloud.com/apostolosloufopoulos https://ionio.academia.edu/ApostolosLoufopoulo, https://ionio.academia.edu/ApostolosLoufopoulos

Apostolos Loufopoulos - Bathysphere (2019)

CATHEDRAL BELLS

Recorded at home. Drums - Cello - Trumpet - Swamp recording. all played by me David Gale

Swamp.   Drums - Cello - Trumpet - Recorded frogs

Human Nature -  David Gale / Soundscapes - Double Bass- Tabla - Marimba - Percussion

I could not see the ciccada. I could not see the bell nor the semantron. I could not see the monastery of Sankt Ana, only a peak of a tower maybe, a steeple or lightening rod, up there, amid the trees, after the thick, gnarly bramby scrub going up the hill from our camp site. The sun ferocious and oozing plasma. Finding shade, we drank our water and read our books and plotted our course. The toaca in the monastery struck -- the percussion of hammers on a plank of wood, sometimes call the semantron -- I'd learned about this sound from maybe Kazantzakis, Sikelianos, Seferis--  one of those Greek poets anyway. A sound resonant of Mt. Athos. I've never seen the bells on Athos. Hearing the percussion, I rushed to the car to grab the recorder and catch the strange dry tabla amid the clicking insistence of the insects marking out their mating territorries. In the morning after breaking camp and breaking our fast, we drove up to the hill to visit the monastery. And the mystery of the semantron and the bells was repeated on a Sunday morning as well. More about historical Orsova here: https://en.wikipedia.org/wiki/Or%C8%99ova

Orsova Composition

Wind turbine rotations and motor movements recorded subterraneously, through wire fences, metal steps and the body of the turbine.

 The results are a selection of atmospheric hums, whines, metallic movements and evolving, eerie landscapes.

 Excellent design source and sound morphing material, eerie atmospheres and dystopian environments.

Number of Sounds : 45

Number of Files : 45      

Total Audio Time : 2 hours 22 minutes 18 secs 

Multi Recording Takes For Varying Nuances : Yes

Type : WAV Stereo

Sample Rate / Bit Rate : 192 kHz / 24 Bit

Normalised : No

Looped Files : No

Size : 9.92 Gb

Metadata : Files are stamped with detailed UCS compliant metadata in Soundminer

Documentation Included : Copyright, EULA, Images, Metadata (exported in multiple formats)

License : Single user, non attribution, royalty free

Recorder : Zoom F3 and Sound Devices Mix Pre 3 II

Microphones :  LOM Geofon, Stille and Klang small spots, Sennheiser 8040’s and 8050

Microphone Configuration : Magnetic, Spike, Contact. ORTF and Centre Mic

KEYWORDS : Wind Turbine , Back, Wire Fence, Metal Steps, Underground, Rotate, Inner, Motor, Vibrate, Whirr, Bass, Hum, Whine, Pulse, Atonal, Disharmonious, Breeze

FXNAME :  Abandoned Environment, Deserted Environment, Design Source, Dystopian, Eerie Atmosphere, Post Apocalypse, Sound Morph, Uninhabited, Wind Turbine

Wind Turbines Inner Sounds Joined Montage

What The Flood Brings Forth - The Flood (Mix 3)

Taken from the album Temporal (released 25th January 2019):
https://music.juliakent.com/album/temporal

@theleaflabel

Imbalance

Taken from the album Temporal (released 25th January 2019):
music.juliakent.com/album/temporal

@theleaflabel

Crepuscolo

Paternoster (2003) by Mark Horrocks

Produced By Martin Reed.
https://youtu.be/ppvDsjsF3NY

Whats It All About? (OFFICIAL VIDEO)

I am a Wollongong based musician, composer and sound artist. I play keys and guitar with The New Christs (since 2006), and have been in many bands previous to this, some that you might have heard of, others not. I love playing rock and roll, but this page however is more focused upon my electroacoustic, electronic and experimental music, on music I have made for other artists' works and installations, and on music I have composed for the screen.

I often use field recordings as source material for works. I spend a lot of time mucking around with microphones and subverting the recording process. I leant to play piano from age 7. I bought my first synth when I was 15 years old. I taught myself how to play guitar around then too. I install interactive multi-channel audio works. I compose soundtracks. I do free-improv performances, both solo and with various partners in crime (for example, the notorious Wollongong Anarchist Noisemakers Kollective).

I have a Masters Degree in Music Scoring for the Screen from the Australian Film, Television and Radio School and a BCA (1st class honours) in Music Composition and Production from the University of Wollongong. I have worked as a recording and live audio engineer for 30+ years and have had extensive experience with music technology throughout this time.

What The Flood Brings Forth - The Flood (Mix 3)

The Brent Williams

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