Klasse! das hätte ich mir gerne live angehört.

I like this bit! Bass line comes in... and non obvious rhythm... Love it

Very fresh dreamscape, with welcomed bass parts to enlarge the spectrum of frequencies in the horizon.
Bravo Michael !

This is really beautiful............it satisfies all that is cool about ambient music, but it has a groove that is constantly shifting, yet, constantly funky............nice work, indeed!!!!

another improvisation for GR-300 guitar, Plogue Bidule, and SUS Replace done on two instances of the Mathons Echoloop plugin. 

Played while rehearsing for the Lutherkirche gig:
http://veloopity.bandcamp.com/track/20131129-cologne-11

(image by Moebius)

20131128 Quantized Replace With Occasional Bassline

This was the 3rd recording from 01/23/23 made at Westner World.

2023

Tranquility's Radiant Glow

I tried to record the sound of wind and although the trees are still green the end result reminds me of icy winter or wind through the cold rocks of a much higher mountain for some reason.

Wind - 23-09-26-019

from psych-ward west, aka nine horses, an idea kicked around on a clear day in 2004 that wasn’t developed further. this live take/raw mix is, i believe, all that survived. the last sketch from the nine horses sessions.

isn't that me?

Previous title was From Below. Alternative mix of 1st movement. Live looping improvisation.

From The Deep (from below) 1st Movement Alt Mix

As One Sleeps - Ruff Mix 1 Master Wav

From dusk to dawn with two pairs of cranes and one or two single male contenders. In this recording you will hear almost infrasound (80-200 Hz) growls and heavy panting as the males chase each other in the wetland and of course the trumpeting of cranes through the night. An amazing experience to be this close. Huddunge, Uppsala. April 9, 2024.

Mixpre 3ii + Lewitt 440 Pure in ortf

Cranes like you never heard them before!

Geophones, hydrophones, contact mic and 6 omnidirectional microphones

Notes
As the light diminished, the volcanic palette undergoes a kaleidoscopic transformation, revealing an iridescence a spectral shimmering.

The sands embody the ethereal interplay of otherworldly pigments that defy earthly conventions.
Listening with multispecies ecologies: volcanic rock pools teeming with life , hermit crabs, Black Sea urchin, Goby and Shrimp, with tides crashing nearby. Human perception and language too limited to describe these multiplicitous worlds.

Using  geophones to  convert ground movement (velocity) into voltage, in attempt to pick up subterranean vibrations. The deviation of this measured voltage from the base line is called the seismic response and is analysed for structure of the earth.
In this majestic Canary Islands. We discovered alien, enigmatic volcanic landscapes, lava fields and magical caves and art by Cesar Manrique. An island carved and shaped with creativity and art.

Speculative Field Trip: Timanfaya National Park in Lanzarote

Live improvised electronic music

Roger Harmar - electronics
Paul Lewis - guitar
Paul Khimasia Morgan - Lyra 8 synthesiser

Brighton Ambients May 2024

This is a collaboration with my friend Volker Lankow (percussions)

Highlands Wolfproject

In 1977 I was traveling in the United States with the futile intent of interviewing Bob Dylan. I went to Hibbing, Minnesota and talked to his uncle Paul, and then to the West Coast and Malibu, to search out the Maestro himself. On his doorstep I was rejected by a guard, and took a bus east from Los Angeles, all across the country, heading for New York City and a plane to Sweden. Almost on the coast, at Breezewood, Pennsylvania, the bus made a short rest stop at a motel, and in the line for coffee I met Judy Spangenthal. A year later, in 1978, I was cycling across the US, from Manhattan, heading for San Francisco. On my way I decided to stop by at Judy's place. She had been living in Pittsburgh when I met her a year before, but she originally came from Baltimore. Now, 1978, she lived in Dallas, Texas, so I looked her up there in the heat of June. To make a longer stort very short, we got married and I started working at The Texas Department of Highways and Public Transportation. In 1979 we moved to Sweden, and later we had a son. We got divorced in 1985, and Judy moved back to The States and Baltimore in 1986. Our son stayed with me in Sweden. He later lived a number of years with his mother in Baltimore. Judy died from cancer in the fall of 2009. This here sound work is a simple treatment of the last words of our very last conversation, over the phone; the word "goodbye" uttered by both of us, in Swedish: "Hej då!" / "Hej då!" Original sound recording of the phone conversation by our son, who was with his mother at the hospice in Baltimore 2009. Photo by my late friend Hans Åke Runell around 1983.

Goodbye / Hej då

Goodbye (Hej då)

For more than 40 years, Michael Peters has explored the world looking for new sounds. Most of his musical output veers from the mainstream and has been difficult to categorize. The renowned WIRE magazine has reviewed two of his albums in their "Outer Limits" section, which says it all.

Michael's main instrument is the guitar - he studied with renowned guitarist, Robert Fripp and also is influenced by guitarists David Torn, Eivind Aarset, and Fred Frith. He extends the guitar using electronic effects, midi, and livelooping techniques. He has played in avant rock and open improvisational groups.

He also has experimented with sampling and cutting up random FM radio broadcasts to use as elements in live improvisation.

By the same token, he has become more and more fascinated by using more stuctured compositions, using the computer as a musical instrument.

For anyone with open ears, the world of sound outside of regular music is also full of wonder. Michael loves to record interesting environmental sounds (field recording) and then recontextualize and sculpt them using digital tools such as granular synthesis, incorporating the results into musical compositions and soundscapes.

Michael is a member of Looper's Delight, a very active international community of people who use looping technology for their music making. He also is a seminal and pivotal member of the Chain Tape Collective, a group of dozens of electronic and electro-acoustic composers whose musicians create collaborative music projects together.

From time to time, Michael Peters has also been active as a programmer and visual artist in the field of abstract computer graphics. He is an avid photographer and has designed his own websites as well as the one for the Chain Tape Collective.

In the year 2000, he started an ambitious project called MY2K where he created an all original 10 second piece of music for every single day of the year.

In 2008, he hosted the 1st International Livelooping Festival in Cologne, featuring ten livelooping soloists from Germany, Italy, Belgium, Austria, and USA. In 2009, he performed at livelooping festivals in Belgium, Italy, and California.

Michael Peters lives in a small village east of Cologne, Germany. He loves to sit on a bench outside, listening ... 

Albums: veloopity.bandcamp.com

20131128 Quantized Replace With Occasional Bassline

veloopity

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