Name: Feedback 1 by bartonmusic
Duration: 3 min 55 s
Description: Exploring double feedback among Makenoise Mimeophone and Erbeverb.

I don't know how, but my thoughts ended up at the Perpignan train station... ('cosmic center of the universe' according to Salvador Dali :)) The texture of the sound and the extent of the reverberation, the cosmic dimension... In any case, it makes you want to try feedback again (it's been a long time). Thank you for all these experiments!

I‘m Also Not From Here [with Yellow Salamand‘r]

Sp°°ky

Sintopia

Exploring double feedback among Makenoise Mimeophone and Erbeverb.

Feedback 1

DUBIOUS ABBREVIATIONS

“I hate to tell but now is all there ever is.” ― Confucius

Track list:
joel putman – Other Forms
Baldor and the Euclidean Functions – Thematic Drops End Tale
Inaiya – Rose-Tinted Glasses of a Lucid dream
Howlround – тајне песме
Sines of Exquisite Pleasure – Surface A  
Tuonela – Skeleton theory
Ravi Shardja – Epsilonia double aveugle # 64 part 1 (excerpt)
Ambulatorio Segreto – Tragedia Nella Gelateria
Curse All Kings – Mansions of Silence
Mad Corpses Embraced – End Of Part One
HAIRS ABYSS – Shade Haze (excerpt)
Mr. Andrew's Garden – The Garden of Gods and Monsters (Birds in Flight)
Palazzo's Monstrosity Coil – Possession Framework
Tsarewitch – Voice Of Water (excerpt)
Pete Swinton – ATMOSPHERICS  Part Seven
Martin Hoogeboom – Onder Rozenstruiken
Zedkah – London North Sound Machine [disquiet 0466]
Regicide Bureau - Variations I (excerpt)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Eclectic current – Now is all there ever is

End of the Ice Age (short piano piece)

Ecart

healing

Keru Not Ever - Mezzanine
Label: Infinite Machine
CAT#: IM115
Format: Digital
Release Date: December 20th

Words by Keru Not Ever.

Mezzanine is an album of post-classical music. The twelve pieces that make it up are attempts to take the raw materials of instrumental music, dip them in mud, and turn them into shimmering confetti. Flutes, violins, clarinets, voices, cellos, piano, bass—these elements are all there, woven together through a mixture of hyper-sampling and recording, creating a chamber music without walls, without windows, suspended in stagnant air and multicolored dust. The conductor lies in bed, sheets pulled up to his shoulders.

Modeled on human breath, the pieces highlight the phenomena of loops and feedback, as though each time a theme is voiced, it must be repeated, insisted upon, until something else — a counter-melody — emerges to disrupt it. This is clear from the very first piece, Requiem Caesura, which functions like the tuning of a small orchestra, seemingly deaf to itself. Then come, to name just a few, the shimmering wind arrangements of Ghisolabella, the pulsing glissandi of the solo bass in Mezzanine, and, finally, the epilogue, Harmonies de la brûlure, a tableau of slow-moving harmonic ashes.

This album took a long time to create, the time it took to free myself from Tereza and The Wind Of? — old, forgotten music. Whether that time was worth it, that is, the doubt in which every melody is born, I can’t say. What composes is always next to myself, an extimacy. But it's a leap in time, an interval of a few years, a leap based on certain musical ruins, anonymous shreds twisted in the throes of a pandemic, in the love and joys, the sudden lights striking the blind spots of a body. These are companion pieces produced from the detritus of history. They hold out a cold hand to those who lend an ear.

Le Poumon

250104 - Jamuary-4 Space Whales

composer, performer, lecturer and analog synthesist who is endlessly fascinated by and exploring sound...

Feedback 1

bartonmusic

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j-bot

Petrus Major

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