Recording/Producton/Guitars/Bass - Daniel Osorio

when do the leaves change? - Demo

I'm trying to release a song every day, I truly appreciate everyone who is giving my music a listen. 

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I Didn't Care

Mount Carmel

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"Moonflowers" is an exploration of repetition and organic sounds. Fragments of delicate melody and harmony are decayed and obscured over time. Emotions frozen in the present. Flower and expand in the silhouette of the full moon.

https://dronarivm.lnk.to/Moonflowers

Buy CS / DL

08 Guara

She's Not Marrying

Lead single off 'Breath' (HH129), the debut album from Helsinki, Finland-based composer, multi-instrumentalist, and producer Juha Mäki-Patola.

CD + Tape + Digital release date = September 25th, 2020
https://hushhushrecords.bandcamp.com/album/breath

CD + TAPE + DL

Juha Mäki-Patola - Slow Dive

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

Gwenifer Raymond
Strange Lights Over Garth Mountain
out Nov 13th, 2020

Eulogy For Dead French Composer

Lead single 'Waiting' from Alexandra Hamilton-Ayres' debut album 2 YEARS STRANGER releasing Nov 20th 2020

All tracks written and produced by Alexandra Hamilton-Ayres
Mastering | Freddie Prest
Publishing | Manners McDade
Distribution | The Orchard
Artwork | SABR Mask by Tim Hamilton

2 Years Stranger

Waiting

What a strange, odd, mixed-up year it has been.  The yellow spanner of Covid-19 really wrecked a lot of plans. I was all booked to travel to Estonia to record, but it had to be cancelled.   Very noticeable was the sunlight, perhaps it was because there was few jet trails, but when the day was cloudless the sunlight could be absolutely dazzling, it had the strange effect of making it feel like we were living in paradise.     Because of the restrictions I am so glad the woods is only within a moderate cycle distance from my home.  I am very fortunate that I have two fairly good places to record relatively close by.  I even found a wild sand dune area not even five kilometers away,  I hope to record more there in the future.   Disc 1 track 2 is from a much longer recording, it is probably one of the best recordings made during the 2020 season, I had made a few recordings, near the stream, then a bit less close, then a bit further away and another even further away, as I wanted a sound where the stream was a suggestion rather than really dominating the sound picture.  The Blue Tits nested in a cavity block in the wall of my home, there is an vent on the inside of the block, so I only needed to place the microphone up to that to get a fantastic close perspective recording.  
I include two recordings of the Blue tits as they sounded so different when I recorded them a week later.  Sometimes I would get great results by leaving the old Marantz recorder hidden in a bushy place while I go not too far away to record with the new recorder, I love how I had no idea of what it has captured for me, only later when the track loaded on the computer did I get to see if it captured anything worthwhile.  This was the case with Blackbird - alarm calls (Track 3 on disc 2).  I think the peaks came in at about minus six db.  This year was my first time to use Contact microphones and a Hydrophone.    
At the beginning of April my dad Desmond died, he was 89, a great age.  Apart from Covid, we could see he wasn’t going to live much longer, he had been deteriorating noticeably for months up to that.  Why then are the covers for the two discs so strange ?  
A birdsong production should have birds on it !   My dad was big into sun power and indeed wind power even long before it became popular.  Over by my workshop he had placed a few sun power panels on the wall, these were wired into a small room to a panel on the wall with six switches.  I thought it a good way to remember him by including a picture of part of his panel for disc one front cover.  I was going to include the six switches in the picture, but my heart of hearts said no, it didn’t look good, too much scruffy brown, but I include it in the zipped folder (If you are buying it on Bandcamp)so you can see what I am talking about.  I had almost chosen it, as it occurred to me one morning that the six switches are like the levels of lockdown (I hate that term, but I have to use it here) thankfully we didn’t have a level six, maybe that is like in a movie I saw where the authorities came and boarded up a house with the people still inside.  In the end I used the part of the photo with the meter.   
The butterflies . . . Dessie we call him, was always interested in butterflies, that is where I got my interest in nature, as a child he used to bring us for walks up along the canal to see the wild flowers and butterflies.  The picture comes from one drawer of his small collection of Irish butterflies he put together maybe around the late 1940’s or 1950’s ??  Very few of them are even in one piece now, this drawer just looked the part, it was all mixed up and spoiled like the year had been, the summer we never really had, at least not the way we wanted or had planned it.

Eulogy For Dead French Composer

TompkinsSquare