A l'invitation du festival Les détours métaphoniques, Aveyron.
Composition sur le thème des bacchanales créée en Juillet 2021.
Citations : 
Pastoral symphony - gramshi (from Marcel Cellier L'albanie Folklorique)
psalterion (HurryKen production)
David Lynch's twin peaks
Remerciements :
Eva Genniaux
Choeur de l'atelier voix de Claire Bergerault (ricercare GMEA 2019) 
Liselotte Emery (cornet à bouquin et flûte)
Ma famille, mes Amis pour leurs rires
Loco pour son souffle

MuriatiS

84gfd

Our initial dialog with Synthia was an adventurous creative endeavour that made us question whether machines could have a soul. This one definitely spoke her mind, and left a fascinating mark on both of us as a wondrous machine––––––woman, a marvelous piece of engineering, an entity trapped in a modular eternity.

Considering that neither of us had any previous contact with such a complex modular system such as EMS Synthi 100, we took a somewhat intuitive approach. This is a fairly raw glimpse of the first days spent in the studio.

Oh, Synthia, we only just met...

--

Happy birthday Mark!!!

--

Composing, editing, patching & live mixing: Manja Ristić
Live mixing & patching: Mark Vernon
Cover art: Manja Ristić –– segment of the sculpture by Angelina Gatalica made in memory of Serbian painter Nadežda Petrović, erected in 1989 in the Pioneer’s Park, on the occasion of the IX Summit of Non-Aligned Countries.

basne——side B

basne——side A

An improvised field recording set on aquatic life and death in the age of the Anthropocene. It combines underwater recordings of singing glaciers, pulsating aquatic plants and water insects with spatial resonances from hydropower dams and reservoirs.

Live on the river Bille, Floating Transmission, Hamburg 2023
Festival curated by Julia Nordholz
Photo by Antje Sauer

Troubled Waters (Field Recording Live Set @ Floating Transmissions 2023)

Game of Phaune, Episode #9: Au-delà du Cercle - Avec Mélia Roger & Grégoire Chauvot

Aujourd’hui, on décolle avec nos oreilles dans les pas de Mélia Roger et Grégoire Chauvot. On suit avec eux les traces sonores, fragiles et puissantes, de ces présences multiples qui peuplent un paysage sans heure.

Et si à l’aventure, on ne sait jamais sur quoi on va tomber, on sait qu’on va tomber. Ici : sur un moment de grâce et de beauté.

Entrelacement de vies, territoires chantés, goût de l’air et frisson du monde, c’est Game of Phaune #9, avec Mélia Roger et Grégoire Chauvot.


 ——

Today, we take off with our ears in the footsteps of Mélia Roger and Grégoire Chauvot. With them, we follow the fragile and powerful sound traces of these multiple presences which populate a hourless landscape.

And if on an adventure you never know what you're going to fall in with, you know you're going to fall. Here: on a moment of grace and beauty.

Interweaving of lives, sung territories, taste of the air and thrill of the world, this is Game of Phaune #9, with Mélia Roger and Grégoire Chauvot.

What The Phaune

What The Phaune #6 - Game of Phaune #9, avec Mélia Roger & Grégoire Chauvot

Not sure this will be enjoyable to many people but:

These are the sounds of aquatic organisms recorded with a hydrophone via a Hologram Microcosm Granular/Looper/Delay/Pitch shifting pedal.  The Microcosm manipulated the sounds of aquatic organisms to create some mad soundscapes.

Recorded with: 

Sound Devices MixPre3 mk2
Aquarian Audio H2D Hydrophone
Hologram Microcosm
at Cliffe Pools, Kent, 15/2/2024

Hydrophone to MixPre3, the output of the MixPre went to the Microcosm and the output of that back into the MixPre3.

Pond Songs 2

enclosures, for chamber ensemble and electronics, explores a combination of reverberant spaces via custom reverbs that echo, mimic and allude to different sections of Bachelard’s Poetics of Space. 

The tape brings together a collection of convolution reverbs containing impulse responses I have collected from my home, environment, and most intimately, from my body. The piece is made up of three movements with live electronics that act as scaffolding for the ensemble to inhabit. The score unfolds in loose time, asking performers to activate each of these three environments using their own directory of flexible, composed materials. The three main movements are separated by two miniature acoustic “doorway” movements that act as portals, moving the ensemble between intimate and expansive spaces, from corners to cavities. Tracing the path from nests and corners to intimate immensity, I combine reverbs to transport and transpose the ensemble through a number of spaces, from that of my chest cavity, to that of hybrid in/outdoor environments, grasping at both real and imaginary spaces.

Burial’s 2013 track “Come Down to Us” ends with an audio sample from a speech Lana Wachowski gave when she received the Human Rights Campaign Visibility Award. When receiving the award, Wachowski speaks to her experience coming out as transgender through the metaphor of space and access. The sample ends with Wachowski stating, “this world that we imagine in this room might be used to gain access to other rooms, other worlds, previously unimaginable.” This piece is about inhabiting a space between, the queer middle, eliding the imaginable and unimaginable, possible and impossible.

Guiding quotes from Bachelard are listed under each movement.

i house and universe
[ i follow the line of the moldings Which follow that of the ceilings ]
[but there are angles from which one cannot escape]
[when the peaks of our sky come together my house will have a roof.]

ii intimate immensity
“Immensity in the intimate domain is intensity, an intensity of being, the intensity of a being evolving in a vast perspective of intimate immensity of the world, which they transform into intensity of our intimate being.”
“Grandeur progresses in the world in proportion to the deepening of intimacy”

iii: the dialectics of outside and inside
[...Silently the birds
Fly through us. O, I, who long to grow,
I look outside myself, and the tree inside me grows.]

Written for, premiered and recorded by lovemusic collective
Recorded and mixed by David Bird

enclosures - for lovemusic

Tagus River Barge

I'm embarking on a new project series that will focus on long-form generative eurorack pieces. I was delighted to discover the ability to use the Generations generative midi controller that was created by Innesti (innesti.bandcamp.com/merch/generations-handmade-midi-controller) with the 1010 Bitbox Micro, and so this combination created the foundation for the piece. I very much consider this to be a companion piece to my recently released 'Generational Drift-A Seasonal Reflection in Four Movements' on Handstiched* (handstitched.bandcamp.com/album/generational-drift-the-celestial-sphere), as some of the elements are shared, as well as the use of Generations, however, this feels quite a bit warmer...thus Spring.

Basic patch notes~

Generations triggering four midi clips in Bitbox, as well as modulating various parameters (pan, filter cut off). Other samples in Bitbox triggered by random gates from Marbles, witch is slowly clocked by PNW. White noise triggering ProbMel/ProbDiv in O_c Hemispheres, which is delicately playing Rings, which then goes thru Draad and Monsoon. Øchd is creating an offset drone from Ensemble Osc and Plaits + Three Sisters, all while sending modulation to various param's throughout..

Recorded 4/21/24...Eurorack > Bluebox > Ableton, and then a basic mastering chain..

D/L for free~https://darrenharper.bandcamp.com/album/generative-01-spring

I hope you'll enjoy, and hopefully I'll be able to continue with these bits for the foreseeable future :)

free download

Generative.01~Spring

Трек передаёт момент растворения в поцелуе.
Цифровая алхимия на грани шёпота и пульса.
Призрачная эротика, застывшая в петле.



Навечно Ноль

Wildlife sound recordist/farmer.

Website at www.thesoundfarmer.com

Pond Songs 2

The Sound Farmer

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