This track released for the open remix project by :zoviet*france about his new soundwork "Hidden-by-the-Wall" commissioned by Green Croft Arts as part of its Collision and Conflict project.

More on :zoviet*france:
https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix?fbclid=IwAR23eVCF-8yRxJ3BPAw3kh5poKlArMhxfqr8chJf62vwLgqG1_yf2JoEYXo

More on Collision and Conflict:
www.greencroftonthewall.com/collision-and-conflict

The recordings are made available under creative commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) (creativecommons.org/licenses/by-nc-sa/4.0/)

Inside Ice Wind Fence, Oak Leaves Dropped Into Horsetail Ponds At Walltown Sur Rêve

an ambient stuff made with nanolooop then further elaborated in ableton and finally editing on cubase
updated mix on 5/03/2023

 2nd of May © 2022 by Nadìr is licensed under Attribution-NonCommercial-ShareAlike 4.0 International

2nd of May

Eastman Harmonie conducted by Mark Scatterday
Kodak Hall, Rochester, NY
April 15 2022.

Commissioned by the Howard Hanson Institute for American Music in Celebration of the 100th Anniversary of the Eastman School of Music.

Giving Ground (2022) for wind octet

Dry Ground

Auburn

bass clarinet/ interactive electronic (MollyDoodle background vocals)

010123bc

In this second track inspired by "The Wake", a post apocalyptic novel set one thousand years ago, by Paul Kingsnorth. 
Buccmaster of Holland dreams of a storm and a devil's head. The head speaks. It's the second portent of doom. It's a terrifying nightmare and it shakes him to his core.

All Rights Reserved 2023

deoful heafod (thu cnawan me)

Nearly imperceptible shifts and trends, all the things that happen when you're not paying attention - and then something from that background noise erupts and changes everything...  

illustration: "Van Gogh's Synthesizer" by Melissa O'Brien

How Did We Get Here ?

With the upcoming Keith Rowe celebration in Berlin just around the corner, reflecting upon how Prepared Guitar noise crossed cultural boundaries. Pink Floyd in 66/67 a band of the London arts scene. Legend has it that Keith Rowe influenced Syd Barret to do improper things for the guitar that no other Pink Floyd guitarist cared to explore. I found this idea more plausible than Syd being stoned or aggressive -- although both artists might have found they shared a transgressive feeling for how such noises are the thang to challenge the thinking about the thang. While there's nothing in Syd's guitar sound surpassing anything Hendrix hadn't blown through several times with the vitality of ten thousand cats, it's also more complicated to think it through the Keith Rowe perspective. Hendrix's path, in my reading, was, yes, to found his own sound, gain his freedom, but also to destroy the white western exploitation culture with the rage of the slave uprising through the electrified blues and render, as a result, an American problem and treasure. In the last days, Jimi wanted to bring it back home and play deep electro-acoustic blues and rock the studio like CAN influenced by Stockhausen on shrooms. Keith's sound was already detached from folk traditions, more consciously post-modern (self-historicizing, self-contextualizing -- to lay the emotional guitar down, pushed away from the body), and few people really want to deal with that new kind of wilderness he explored in HARSH, where you see shards of what he maybe transmitted to Syd and which Jimi knew very well but never lived to take out of the rock and roll physicality context. Prepared Guitar music doesn't really exist if the guitar is not really involved, though. This track is all about those cross-over moments between the psychedelic movement and fluxus and free improv and indeterminacy. Syd was still in a rock band rooted in the Black Music of the Colonies and then they got rid of him. Noise has maybe messages beyond human aesthetic.

Syd B Keith R

a work by Marco Lucchi re-imagined by Walter Fini

Marco Lucchi & Walter Fini - Notre Dame

This is quite a minimal ambient piece that I put together in April 2023. It features an unconventional Reaktor drone, a couple of synth patches from TassMan4 and a Spitfire LABS flute creation, along with plenty of reverb.

Spot the sonic reference to David Lynch.

Edit: 20240120 - I remixed this yesterday, lowering the noise levels in two modules within one instance of TassMan4, then lowered the volume level and re-EQ'd that instance. I also changed the EQ on the LABS instance, and then remastered the track.

Orders of Magnitude

Extinguished

Grossman Ensemble, conducted by Ben Bolter
Logan Center for the Arts, University of Chicago, December 7, 2018

Simple Fuel (2018) for large ensemble

Tonia Ko has collaborated with leading soloists and ensembles across a variety of media—from acoustic concert pieces to improvisations and site-specific installations. Recipient of numerous accolades including a Guggenheim Fellowship, Ko’s music has been lauded by The New York Times for its “captivating” details and “vivid orchestral palette,” and performed at venues such as Walt Disney Hall, Carnegie Hall, Kennedy Center, and the Tanglewood Music Center and Royaumont Festival. Born in Hong Kong and raised in Hawaii, Ko holds a DMA from Cornell University and is currently Lecturer in Composition at Royal Holloway, University of London.

Giving Ground (2022) for wind octet

Tonia Ko

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