This track is the first movement in a series of pieces that are impressions of Kandinsky paintings. The painting that inspired this piece is called "Colorful Ensemble," painted in 1938 by Wassily Kandinsky; the detail of which is what I am currently using as my profile picture on soundcloud and bandcamp. 

The defining feature of the painting "Colorful Ensemble" is the juxtaposition of small and large musical events. In the painting, Kandinsky juxtaposes small, energetic, colorful events with larger, timbrally-rich events of different shapes, contours, colors, and intensities. 

This is the defining characteristic of my impression of this piece: it utilizes microsounds on several different time scales superimposed on one another to create a unique energetic weave of multiple moving strata. Kandinsky's shapes all have different characteristics, whether they are colors or patterns, and I've attempted to give my microsounds different shapes, colors, and patterns as well.

Impression of "Colorful Ensemble"

A continuing exploration of patch cords and sequencing

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Submit booking, licensing, and label correspondence to keston@audiocookbook.org

John C.S. Keston is an award winning composer of electronic, experimental, and instrumental music. His work embraces the chaotic ambiguities of environmental and sensorial influences providing context within unpredictable or everyday events. His unconventional compositions convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. His compositions parallel indeterminate improvisation activating what remains immutable within traditional forms of notation driven music. Performers are empowered to use their phonomnesis, or sonic imaginations, to contribute to the work.

His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015) presented at the MNKINO Film Score Fest. He has appeared on more than a dozen albums including two solo albums on Unearthed Music. His latest release, Isosceles (2016) has drawn comparisons to the Stranger Things soundtrack. In 2011 he won the Minnesota Emerging Composers Award for electronic musicians. In 2013 he won the Jerome Fund for New Music for his project documenting binaural duets with the Singing Ringing Tree in the UK. 

John has performed and exhibited original work at Northern Spark, an all night arts festival with over 200,000 attendees (MN); the Weisman Art Museum (MN); the Montreal Jazz Festival; the Walker Art Center; the Burnet Gallery (MN); the In/Out Festival of Digital Performance (NYC); the Eyeo Festival (MN); INST-INT (MN); Echofluxx (Prague); WMC (Miami); and Moogfest (NC). In addition, Keston has worked with Atmosphere, Jon Davis, Martin Dosh, Peter Hennig, Joshua Herbst, Cody McKinney, Graham O'Brien, Adam Svec, and Nils Westdal to name a few. John resides in Minneapolis where he is a professor of creative multimedia at the University of St. Thomas and founded the widely read sound design resource  <a href="http://audiocookbook.org" rel="nofollow" target="_blank">AudioCoobook.org</a> where he shares sounds and writes about his unique approach to composition, production, and performance.

Gintas K (Gintas Kraptavičius) a Lithuanian sound artist, composer living and working in Lithuania. 
 Gintas has been a part of Lithuanian experimental music scene since 1994. Nowadays Gintas is working in the field of digital experimental and electroacoustic music, making music for films, sound installations. His compositions are based on granulated sounds, new hard digital computer music, small melodies.
 Collaborations with sound artists @c, Paulo Raposo, Kouhei Matsunaga, David Ellis and many others.
 In over a decade he has released numerous of records on labels such as Cronica, Baskaru, Con-v, Copy for Your Records, Bolt, Creative Sources, Sub Rosa and others.
 His works was presented at various international festivals, symposiums as Transmediale.05, Transmediale.07,  ISEA2015,  IRCAM forum workshop 2017, ICMC2018.
 Artist in residency at  DAR 2016, DAR 2011, MoKS 2016.
 Winner of the II International Sound-Art Contest “Broadcasting Art 2010” in Spain. Winner of The USF New-Music Consortium (NMC 2019) International Call for Scores / electronic composition category, 2019 USA.
 Since 2011 member of Lithuanian Composers Union.

I'm an electroacoustic composer who specializes in micromontage and granular synthesis. My complete works are available on Bandcamp:
mcgender.bandcamp.com.

https://alexanderpanos.com
https://linktr.ee/alexanderpanos

Impression of "Colorful Ensemble"

mc.gender