A Greater Revelation for flute and clarinet in Bb (2015)

a new collaboration with https://soundcloud.com/xixistix

Serpentine

Serpentine - Xixistix | muterial

Excerpt from Rebecca Lane & Clara de Asís "Distances Bending", live at Oscillation festival, Brussels (BE), 29 April 2023.

A collaborative composition by Clara de Asís and Rebecca Lane deriving from a series of encounters and explorations throughout different times, spaces and forms.

Distances Bending is an ever-expand­ing pro­cess — a build­ing up, dis­tilling, and mir­ror­ing of mater­i­als par­tic­u­lar to each artist, respond­ing to and inhab­it­ing a space over mul­tiple hours or days. A repeated time struc­ture, a tem­por­al loop that is altered through upwardly evolving ration­ally-tuned fre­quen­cies, vari­ous flutes (whose size, timbre and shape cor­res­pond to these fre­quen­cies), elec­tron­ics, and chan­ging light, the piece cre­ates a subtle space where per­cep­tion is transformed.

Rebecca Lane: flutes, organ pipes, whistles
Clara de Asís: synthesizer

Rebecca Lane & Clara de Asís / Distances Bending (Excerpt) – Live at Oscillation 2023

Artist : Holeteeth
Album : Where'z my home
Mix and Mastered by Christophe Guiraud for Unearth

***This version adds a remix of the track "Free da Sufi" from Arçon de Nièze***

linktr.ee/holeteeth
holeteeth.bandcamp.com/
www.cguiraud.com/

★ RETANGLED DA SUFI - Holeteeth RMX By Arçon De Nièze - MASTER

Vanessa Pettendorfer, tenor saxophone

https://m.soundcloud.com/vanmagi

Malady of Knots, piano

Vanessa Pettendorfer & Malady of Knots - Ode to a Goddess

The Cathedral of the Good Shepherd (Basque: Artzain Onaren katedrala, Spanish: Catedral del Buen Pastor de San Sebastián) located in the city of San Sebastián, Gipuzkoa, Basque Country, Spain. It is the seat of the suffragan Diocese of San Sebastián and subordinated to the Archdiocese of Pamplona y Tudela. The most remarkable religious building of San Sebastián, it is endowed with a strong verticality and is the largest in Gipuzkoa. Its construction took place in the last years of the 19th century in a Historicist Neo-Gothic style. The church, dedicated to the Good Shepherd, has held the rank of cathedral since 1953.

The Cathedral of the Good Shepherd

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is LCEEM

Laboratory for Contemporary Electronic Experimental Music [LCEEM] 
https://youtu.be/joMTW5-YuaU
rec.name : " Material - Water Caustics Sonification Aleatoric Music 3 "
credit: ipad9
date: 26-04-2024
 pneumatic art work video
https://www.youtube.com/watch?v=8DKtzLNZfvo

Olophon Textures Vol 3

SARU practitioner Max Eastley's work was recently featured in Gone With The Wind, at the Raven Row gallery in London. The show also featured ResonanceFM, and works by Takehisa Kosugi and Walter Marchetti.

Kinetic drawings and sculptures by Eastley were displayed at this show, along with a series of Aeolian devices, which were installed on the roof of the gallery, and which had their sounds transmitted into the exhibition space by means of an ingenious series of wires, transducers and amplifiers.

This recording documents how the Aeolian devices sounded in situ, on the roof of Raven Row.

The devices were all activated by the wind. A large sheet of plastic or metal rumbled when the wind moved it; latex bands with bamboo and metal objects suspended on them danced around, striking other metallic surfaces when blown about (which you can hear in the first excerpt); and mono-bows mounted on poles resonated with sustained bursts of wind.

Recordings variously made with a widely-spaced pair of Naiant X-X omni-directional microphones, and an Audio Technica BP4029 stereo shotgun microphone.

Max Eastley's Aeolian devices

TAK-TAK...TAK...
Ensemble Modern and Plásticas Sonoras (Dedicated to Dorinha Kampela, minha mãe/ my mother - e/and Baiana, como/as Smetak...) My piece’s title comes from both, a nickname that Smetak was kindly addressed by Gilberto Gil (a great Brazilian songwriter from the Tropicalist movement of the 1960’s) and an allusion to his own metier as a luthier and builder of innovative sound-producing objects/sculptures/ instruments. The title spells accents and a dynamic motion, emphasizing the hybrid character of language itself and in particular, of everything that was of Smetak - this benign
“Bruxo” (sorcerer) - interest....  Has the music started already in the title...? - might be an interesting Smetakian question..!
The Plásticas Sonoras can be seen in two very distinctive ways. From one side they are objects without ‘restrictions’ that embody a new type of relationship not with traditional music but sound itself. They do not come with a guideline as how to “properly” play them. The very playing becomes an invention of the performer. They can be played by many performers at once (see his ‘Pindorama’), etc. From the other hand they are embedded in an aesthetic viewpoint, since timbre itself implies a formal commitment to a specific sonic outcome and consequently, a formal, view.
Thus, in order to “escape” the “Smetakian trap,” his creative volition, I decided to expose and subvert somehow the formal constituents of his instruments, their technical ‘limitations.’ My aim during this composition was to create a new kind of virtuosity that has in common with western instruments the fact that an engaged musicianship is being constantly assessed in order to show the instruments’ plasticity. Thus, I deployed new techniques for their manipulations reinventing a repertoire of gestures for them. That way I could create a “Cadenza” for the VINA (Smetak’s most prominent invention) that is extremely virtuosi in demand but keeps the uniqueness of the instrument, its iconic difference, visible and functional to the music... As a common feature of my own music, I always try to avoid exposing instruments as part of an innocuous circus where they would be just a mere gimmick, or “effects’ makers”. My score is a reflection of complex processes in order to safeguard and subsume all its materials to the same compositional demands. I also treated the Western instruments using Smetak’s hybrid approach. The piano and the percussionist II make up for one unique instrument: both play the same piano; the guitarist and the flutist have percussive instruments to prolong their own gestures in other directions... The Smetakian “Chori Sol e Lua” although built for a cellist type of player, is performed here by a guitarist.
Finally, I wanted to subsume the whole Smetakian concept of a cosmic instrument, creating a kind of “vibrating entanglement” of all the musicians. For that I built what I called the “Elastic Tree.” It is a visually enticing scenario. However, my intention was to link all the musicians through elastics that vibrate with percussive instruments when shaken, maintaining a basic musical priority. This vision came to me as I contemplated Smetak’s instrument “Pindorama.” A bamboo structure that spits from its head or top (like a Medusa) “plastic capillaries” whose end exhibit small flutes. This instrument, played by many musicians at the same time, is somehow a powerful metaphor for our time of divisions of all sorts: financial, racial, religious, political, aesthetic, national, etc. I think that the Elastic Tree functions as a Smetakian icon, where Smetak ceases to be seen as an alien or marginalized figure within our common history; an Icon that, I hope, reverberates (and alerts), within the unchanged climate of our primitive culture
- where a utopia is a form of dystopia and earthlings are the true aliens... ©Arthur Kampela 2017 “The Smetak Project” DAAD/ Ensemble Modern 12 de Julho 2017 (NEW VERSION EDITED BY MARTIN HERRAIZ)

Downloads

Tak Tak-Tak for the Ensemble Modern / Smetak Plásticas Sonoras - Sala São Paulo - Arthur Kampela)

free snippet of sept. 2017 - titled "cheeks"

Cheeks (2017)

#dejavu #falling #jazz #solo # piano #comprovised

Dejavu (live)

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is LCEEM 
Laboratory for Contemporary Electronic Experimental Music [LCEEM]was founded in 2004  in Equihen Plage , France  by Max Elzholz


Research Priorities:
Exploring the Serendipity -
Sonification - Aleatoric - Improvisation - Science - Electroacoustic Music- Non-deterministic Systems - Granular Sample Textures - Acr

Olophon Textures Vol 3

T R A M P E L F Â D

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