Inspired by the Armenian instrument, the duduk. Vocal expression of the very emotional and mysterious sounds of this music. 

Duduk For Two Voices

runx3 2.1 e1 22 bpm take 1 82425

shifty take 3 july 30 33 bpm

satiated 2 take 1 35 bpm

YUI ONODERA & STEPHEN VITIELLO - Quiver

CATALOG: mikroton cd 64
FORMAT: CD
RELEASE: April 2018

https://mikroton.net/mikroton-64/

Yui Onodera electric violin, electric guitar, field recordings, found objects, processing 
Stephen Vitiello acoustic and electric guitar, modular synthesizer, toy piano, field recordings, processing 
Kenneth Kirschner (variant’s materials) on Quiver 1

Quiver

Yui Onodera & Stephen Vitiello - Quiver #6

READ > inverted-audio.com/premiere-heinali-iridescent

Ukrainian artist and sound designer Oleg Shpudeiko @heinali follows up 2017's epic "Anthem" with a set of equally as beautiful pieces culled from studio improvisations on a modular set up.

Heinali - Iridescence [Injazero Records]

It seems French musician and photographer Frédéric D. Oberland might be able to play more instruments than I can name. Mentioned in the creation of his latest album, Labyrinth, are electric guitar, Dark Energy Doepfer, harmonic pipe, critter, Guitari Organelle, hurdy gurdy, pantophone, alto saxophone, duduk and flute, just to state a few. 

With the release due for the 26th October, we were kindly offered an exclusive stream of 'La Part Du Feu', an achingly sparse piece of meandering electronics. 

Read more here: http://straylandings.co.uk/news/premiere-frederic-d-oberland-nahal

Labyrinth

Premiere: Frédéric D. Oberland - La Part Du Feu [Nahal Recordings]

Having recently signed to FatCat’s 130701 imprint, and following closely on from Deutsche Gramophon’s release of Jóhann Jóhannsson’s ‘Last and First Men’ project which Yair co-composed, Yair Elazar Glotman & Mats Erlandsson’s sophomore album ‘Emanate’ is a powerful and stunningly executed extended duration work that utilises a fantastic ensemble cast and continues to explore their ideas of a 'displaced sound’ - combining electronic and acoustic sound sources through both analogue and digital means to create an ambiguous composite work, a music that sounds neither clearly electronic or acoustic, existing instead in some in-between space.

In many ways, the idea of a longform music is unsuited to and out of phase with our times. And yet, there is recent evidence of a reaction against this – witness the rise of the practise of mindfulness and the cultural elements of a ‘slow living’ movement; the huge success of Max Richter’s marathon 'Sleep’ project; and the emergence of an expansive musical niche that draws from drone, electroacoustic and classical traditions and prioritises a more immersive, durational sound worlds - see artists like Kali Malone, Ellen Arkbro, Clarice Jensen, Abul Mogard, William Basinski, Claire M Singer, and labels like Longform Editions and XKatedral. Music here is intended to function not as ambient backdrop to other activities but as a deep listening, intensive immersion.

Aligned with these approaches, Glotman & Erlandsson’s work is suffused with a chromatic density and a tendency towards an edgy darkness that puts it closer to Hildur Guðnadóttir’s ‘Chernobyl’ score or Jóhannsson’s ‘The Miner’s Hymns’. It shares that same brassy, bass heavy weight and glowering, simmering sense of tension as well as a similar, sliding feeling of instability. Its authors cite the influence of  Renaissance vocal polyphony; Giacinto Scelsi’s ‘Pranam II’; György Ligeti’s 1967 piece ‘Lontano’ (heard on the soundtrack to Kubrick’s ‘The Shining’ and Scorcese’s ‘Shutter Island’); as well as American composer Ingram Marshall, and Iceland’s Valgier Sigurdsson. Gorgeously recorded, beautifully focused and measured throughout, ‘Emanate’ is a texturally rich, deep spectrum exploration that flows and unfolds almost seamlessly throughout its fifty-minute span to create an energy field which feels simultaneously static and yet continually shifting.

Variations for Piano & Tape Excerpt

williambasinski