mkeslange@outlook.com I'll email you a draught of my underground novel and thesis :-) .

dark light heavy

© by Vergil Sharkya', all rights reserved

cahos::dub::loose:::le::5ème::élément

Another track from my laptop, World music, and samples from Kif, Hip Hop  experiments.

Dubmaestah X Zhikr.

A Laptop experiment samples by Kif, track and vocals put together by me. Time flies.

It's Like That.

Laurie A.

Marion Lukic : Voice & looper
Vergil Sharkya' : synthesizer & effects
Recorded live @ Studio Feedback, WUK, Vienna, 2022-08-01
Mix & master by Vergil Sharkya'
@2023 by the artists. all rights reserved.

Dusty Clouds / Ions

During the composition of Pipa Aura Suichi, it appeared to me that sound materials that I had chosen, with their articulatory possibilities, often presented behaviors leading to chain reactions. The sounds, taken out of their instrumental context in a kind of schizophony, also followed a particular temporality that unfolded through triggers, attacks, resonances and propulsions.

Thus, the title refers to a children's program broadcast on Japanese television in the early 2000s, Pitagora Suichi. Animations were presented, in which viewers could observe a marble circulating through a series of slides and obstacles to reach the end of a course made of complicated mechanisms, although they were manufactured from simple everyday objects. In other words, it is an illustration of a complex and sophisticated way to simply travel from point A (the beginning) to point B (the end).

The pun on the name Pythagoras also refers to the harmonic character of the sounds produced by several of the Totem instruments, including the vibrations of the SubTuyo and the membrane resonances of the Babel Table Bowl. This characteristic is emphasized in the central section of the piece, composed of long instrumental layers. The Insects are also present, both as soloists and as textural accompaniment.

The work ends with a final section that again evokes an "incredible machine", this time in a more frenzied manner. The superpositions of impulses and sounds obey the laws of physics and follow the kinetic or potential energy given to them according to the context, accumulating sound energy until the final explosion.

Special thanks to Vergil Sharkya’ for the mastering.

Pipa Aura Suichi

La composition de cette pièce découle d'une expérience singulière vécue lors d'un vol intercontinental, coincée entre deux passagers profondément endormis. J'ai alors décidé de regarder 2001, A Space Odyssey pour la première fois de ma vie à travers le minuscule écran fixé au dossier du siège avant. L'inconfort de la situation et l'immersion propre à l'utilisation d'un casque coupe-bruit ont décuplé l'effet perceptif de la temporalité volontairement ralentie par le réalisateur, qui souhaitait possiblement amplifier les bizarreries perceptives propres à l'impression d'apesanteur. Bien que les séquences psychédéliques du film aient produit leur effet, l'ensemble a rendu insupportable la question qui me taraudait: « Mais à quoi sert ce singulier monolithe ?! »
Monolithe fait interagir le musicien aux commandes de la Table de Babel avec une bande composée de dérivées instrumentaux enregistrés à partir de ce même instrument. L'horizontalité des trames s'installe et enfle, puis laisse place à une verticalité soudaine, puis aux tentatives de communication parasitées et à une visite chez les divas. Puis les lignes rythmiques et mélodiques s'empilent les unes contre les autres jusqu'à ce que le pilote reprenne contrôle de la situation.
Un merci spécial à Louis Dufort pour la guidance, Vergil Sharkya’ pour le mastering, Guillaume Barrette pour l’aide technique, ainsi qu’à Francis Leduc et Jean-François Laporte pour la fabuleuse collaboration.

Monolithe

Drumnopoeia

HAMFERÐ was written for the 2018 Sound Symposium Harbour Symphony in St. John's Newfoundland.
The word is from the Faroese language, spoken in the Faroe Islands, in the North Atlantic between Iceland and Norway.
It means a ghost or an apparition, particularly one of someone who has been lost at sea. At the exact moment of death, it
is said the spirit appears to its loved ones, far away on the shore.
HAMFERÐ is also the name of a Faroese funeral doom metal band. This composition incorporates rhythmic elements
drawn from traditional Faroese ballad singing and chain dance with influences from doom metal as well as instrumental
works by the Renaissance composer Josquin des Prez. (Sarah Albu)

'HAMFERĐ' Harbour Symphony by Sarah Albu

for hichiriki, ryuteki, and sho; played by members of reigakusha

Kasane Goshi (Gossamer Lattice) for hichiriki, ryuteki, and sho (excerpt)

:::been on an island::lesmuetants:::
:::studio vergilreality::montréal::québec::enregistré le 1er mai 2013:::

:::compo::enregistrement::post production::vergil sharkya'::: 
:::arrangement&production::lesmuetants::: 
:::shelsey cayer::son en direct::: 
:::martin auguste::batterie electronique::: 
:::david jespersen::trombone&effets::: 
:::jacques kuba seguin::trompette&effets::: 
:::simon pagé::guitare basse electrique&effets::: 
:::vergil sharkya'::synthétiseurs&effets::: 
:::yves turgeon::electronic wind instrument:::

been on an island

Vergil’s music combines composition, hypercomposition and improvisation, played on synthesizers, computers and acoustic instruments. His sonic worlds are exploring an aesthetic of immersive quality, constant flowing motion through webs and layers of shimmering, gleaming micro-frequencies and rhythms, brute force collisions, explosions, implosions, and fractures of sound masses of high-density arrangements of proportion canons and sound modulations – a free-spirited dance through complex sonic architectures, driven by the deep forces of free improvisation, dub, and electro.

Bio:
Vergil Sharkya’ is a musician, composer, improviser and sonic explorer of Austrian origin. After having settled in Liverpool, UK, for 15 years, he joined Montréal’s artistic community in 2010, where he works predominantly but not exclusively in the domains of experimental and improvised music, and Musique Actuelle.

Armed with synthesizers, vocoders, software, analogue and electronic effects, and his unique sense of treating his sonic materials, he works in a multitude of music projects, as well as creating musics and soundtracks for dance, radio(,/-)theatre, slam, poetry, and film/video. In addition to his work as a composer and performer, he continues to create music based on the method of hypercomposition, developed during his doctorate at Liverpool John Moores University.

His music has been heard at SÓNAR (Barcelona, ES); SAT-Société des arts technologiques (Montréal, QC); CKUT 90.3; CiBL 101.5 (both Montréal, QC); FIMAV-Festival International de Musique Actuelle (Victoriaville, QC). He has collaborated with Ensemble SuperMusique; Ensemble Innovarumori; TIT-Total Improvisation Troop; Opéra de Montréal/Orchestre Métropolitain (all Montréal, QC); Vienna Improvisers Orchestra; Kombinat M (both Vienna, AT); as well as Luki Star (Marion Lukic), Kathy Kennedy, Geneviève Gauthier, Elizabeth Lima, Ida Toninato, Sarah Albu, Lukas Ligeti, Philip Jeck, Colin Fallows, Serge Lamothe, and many other musicians, poets, writers, dancers, directors and artists.

Recordings of his music have been published on labels including Cuneiform Records (USA), Audio Research Editions (UK), Mikroclimat (QC), Ambiances Magnétiques (QC), Atrito-Afeito (QC), UKsupersonic (UK), and VergilReality (AT/UK/QC).

cahos::dub::loose:::le::5ème::élément

Vergil Sharkya'

Recent comments

The Asylum Seekers. The Bold Street Sessions.

Related tracks