Puerto de El Musel, Gijón, Spain.
25/10/2014

Amarres en el Puerto de El Musel (Contact microphones)

Title extract : Thirumoolar (Temporal Field #3)

Temporal Fields & Delocalised Recordings
 LP : HAK Lo-Fi Record ‎/ Tünel Records /Middle Eight Recordings (2019)
200 ex

Full LP on Bandcamp (listen ... and buy ?!!) :
https://middleeightrecordings.bandcamp.com/album/temporal-fields-delocalised-recordings-aaba-15


-  Hopek Quirin > Bass, Tape [Diktaphone], Percussion, Field Recording
– Cisco C. > Cello, Synthesizer 
– Gabriel Lemaire > Clarinet, Alto Saxophone, Baritone Saxophone 
– Ayato > Guitar, Charango, Drum Machine, Tape [Cassettes] 
– Anton Mobin > Other [Prepared Chamber], Percussion, Field Recording 
– Julien Chamla > Percussion, Drums 
– Monobloc Sound Fidelity > Sampler, Electronics 
– Rome > Voice

Compositions concept ideated by Hopek Quirin. 

Project initiated by Anton Mobin and realized from 24 to 29 September 2017
 at La Ferme Ta Gueule, in Olivet, France.

Thirumoolar : from LP  Temporal Fields & Delocalised Recordings

Marco Lucchi : ring modulator and generative sounds

22 marzo 2020

bedroom music no. 1

paaapii

French composer Melaine Dalibert has before quoted Deleuze, referring to his own compositional practice as working on (and with) the behaviour or "space-time blocks". Here his philosophy unravels specific to the covid-19 pandemic; a beautifully spare and minimalist solo piano work, taking the form of a 20-minute long rallentendo which reflects the drop in tension that we are experiencing.

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Music written & performed by Melaine Dalibert. Recording and mastering by Hervé Jegaden & David Launay.

TR002 - Melaine Dalibert 'Un Long Ralentissement' [sample]

A new 5 track mini album released on Hibernate Recordings.
https://hibernate.bandcamp.com/album/nia

Charitable fundraising has been hit very hard by the COVID-19 so as part of #TwoPointSixChallenge we plan to release 26 free download/pay as much as you can afford Ep or albums on Hibernate Bandcamp page over the coming weeks. 100% income being donated to charities. All proceeds from this EP go to Medicins Sans Frontiers.

blochemy - Nia (Hibernate) Sampler

From the Origin EP
Now on bandcamp

https://balsam.bandcamp.com/album/origin-ep

Origin EP

Remembering Antisana

Mastered By exm
Artwork & Design by Grid Pattern (www.gridpattern.co.uk)
Photo by Matthew Hampshire (www.matthewhampshire.com)
Music By Keiss

TR606 
released August 14, 2020
(c) Touched Revolutions

Buy Vinyl, CD, Digital

Any Thing

A sort of mating between the track Totentanz by Henrik Meierkord with Marco Lucchi and a stainless steel railing played by me as an instrument.

Henrik Meierkord : cello, hurdy-gurdy, violin, fx and electronics
Marco Lucchi : analog synth, tape and mix down
Filippo Panichi: Argeïphontes Lyre
music by Henrik Meierkord and Marco Lucchi
here the original track: https://soundcloud.com/marcolucchi/totentanz
* based on "Średniowiecze II" by Henrik Meierkord
https://soundcloud.com/enrikeierkord/sredniowiecze-ii

zuɐʇuǝʇoʇ (Henrik Meierkord & Marco Lucchi)

another djstadtreinigung gem:

djbassreinigung & djkassettenreinigung took it out on each other
in this live notstudiosession recorded at galerie pfund&dollar

voices by skltr/shl/hmn/rc
cut by djstadtreinigung
artwork by djstadtreinigung

st/rn/nst//b

Referring to how Goethe describes architecture as petrified sounds, author and journalist Tim Rutherford-Johnson suggests that my compositional approach echoes “dissolving an ancient amber and letting a trapped insect fly away," and reverses the petrification when engaging with spatial constructs.

Named after Rutherford-Johnson’s text, this work is written for two interdependent compositional works, written separately for string quartet and orchestra, which can be performed simultaneously or as stand-alone works. As stand-alone works, these pieces reflect autonomous musical discourses. The simultaneous work conveys an interfacing medium, through which these two historically significant musical settings meet without offering a concerto or related form.

This encounter is activated by displaying the interplay between the physical and the perceived space. The latter, to me, results from the way in which sound sources interact with the listener, as varying spatial portrayals that color the spatializations of subjectivities. As the string quartet unfolds its character during the piece, the orchestra engages with the perceived space by re-constituting the characteristics of a sonic-architecture inferred from a spatial design and articulates the physical space.

For this design, I intended to work on The Church of Holy Apostles, which was once located in Istanbul and demolished following the Ottoman takeover of Istanbul to make way for the renowned Fatih Mosque. Aside from its influence on major architectural designs such as St Mark's Basilica, this church, for me, embodied political concepts such as cultural desolation, dislocation, and deconstruction, which continue to shape the constellation of acts that portray today’s social and political space in Turkey.

It was inevitable that any design I would model would be a hypothetical one, as there is either very limited or unreliable documentation for this church. By designing a hybrid structure based on both the Church of the Holy Apostles and the Fatih Mosque, I decided to work on a model that is also hypothetical, hoping to trace how these political constellations have been embodied. In doing so, the timbral morphology yielded by the sonic-architecture is analyzed for varying listening and sound source position combinations and re-imagined for the orchestration means used in the work.

©Turgut Erçetin 2010-2024 (All rights reserved).

—

Performed by the Arditti Quartet and SWR Symphonieorchester on February 8, 2020 at ECLAT Festival. 

Irvine Arditti, first violin
Ashot Sarkissjan, second violin
Ralf Ehlers, viola
Lucas Fels, cello

Conducted by Michael Wendeberg

—

Selected Reviews

"Lydia Jeschke mit einem Ausblick auf das ECLAT Festival 2020," SWR Kultur (2020).

"... like dissolving ancient amber and letting a trapped insect fly away."

Turgut Erçetin

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