Wonderful! Your voice and style reminds me of Jarboe.

The strong panning works pretty well, even without headphones!

Beautiful use of vocal to create rhythmic pulse.

I used one of Erokia's Freesound tracks, chopped it up a bit, and added some vocals and bass to it.  Best heard with headphones.

Thanks to Erokia (Jordan Powell) for his beautiful track:
https://freesound.org/people/Erokia/sounds/586166/

This track is downloadable.

Breathing (with music by Erokia)

If You're Ever Present But Not Here

Color remains
The frame opens up with an introduction,
The words move forward,
Red and purple;
Browsing time is set to a 20 second visual.
After leaving the theatre, it’s cast
Spreading across the road
Like syrup, cut with silver light.
But the candles don’t help.
Start tucking the sheets underneath the mattress
And the red candle in the back.
Pulling strings and hooks to make something happen
Is always a slip-up.
Waiting for another drink and browse the backlight,
Again and again, dozens and hundreds
Of times.
You see a fog;
This is translated into swirled fragments.
A plate of biscuits lays in front
Of your bare feet,
And you contemplate for a moment
Before stepping back on them.

Step forward with one foot,
For the rest of your days.
And the money isn’t good.
Let the tea soak for a moment;
The red stands still.
It grows within cold skin,
Mouth, and unresponsive eyes.
The soil below is covered with a layer of tall grasses,
Each clump out of view.
It is the year’s circles sprouting and growing,
The height twisting and expanding outwards again.
Forests live in your garden
And several can be seen
Sitting under a parasol,
Trying to reverse the energy’s flow.
The glass shop fronts hum softly
And the empty houses sleep
While the energy is preserved
In the attic of cold wet wood.
Time is asleep;
Rest with cloudy mind and single point of focus for four minutes.
The city’s bricks rotted away
Into multi-chromatic eyes.
Then focus finally settles on
The hoses laid out
Red, blue, green and yellow.
The next scene opens with shambling
Red shoes,
Outstretched towards honey,
A soft steady fall in filter-bag cloth;
A body woven out of rubber bands
Is unable to stand,
While a food processor emits a bouncy steady rhythm
Made the motor hum,
And the melodies develop and
Carry the action to its conclusion.
I always worry where I’m going to sleep.

Suddenly a soft breeze seems to blow
Between the massive buildings;
The white noise of the line
Becomes a monotonous drone,
Ruled over by the rising and falling tones.
You don’t even notice when it stops,
The noise is gone,
But no one seems to be surprised by this,
And you forget how you ever communicated before.
The sound of silence is like a locomotive
Rolling through the room.
The soft hiss of cables breaking
Makes you wonder what the hell is going on.

It is an obsession
That grows out of the fragmenting nature of cheap smiles;
The soap-opera appeals to the lowest common denominator,
While the landscape feels like it is
Crumbling.
The sun hangs low
And
A galaxy of stars
Shines through
A car window.
The colors reflect
Off of your skin.
Your smile glows.
The sound of blown grass
Rains down on the scene
That will be in the next show.
It’s the
Taste of
Candy colors,
Which is all that remains
In a blank slate
And a fresh start.
The memories may fade,
But their colors remain,
Glaring in their brightness
And
Frustration.

•cC°/⁄∆…•˙ ’ \⁄‘°o ı|•

Spit from a python

Buy on Bandcamp

From my album Goji - available on all platforms!

Bandcamp - https://ulvo.bandcamp.com/album/goji

Spotify - open.spotify.com/album/2cOXtFQWEs…oLRVqzFIBiPCBlOg

Britney It's Ok

Cultivate

enclosures, for chamber ensemble and electronics, explores a combination of reverberant spaces via custom reverbs that echo, mimic and allude to different sections of Bachelard’s Poetics of Space. 

The tape brings together a collection of convolution reverbs containing impulse responses I have collected from my home, environment, and most intimately, from my body. The piece is made up of three movements with live electronics that act as scaffolding for the ensemble to inhabit. The score unfolds in loose time, asking performers to activate each of these three environments using their own directory of flexible, composed materials. The three main movements are separated by two miniature acoustic “doorway” movements that act as portals, moving the ensemble between intimate and expansive spaces, from corners to cavities. Tracing the path from nests and corners to intimate immensity, I combine reverbs to transport and transpose the ensemble through a number of spaces, from that of my chest cavity, to that of hybrid in/outdoor environments, grasping at both real and imaginary spaces.

Burial’s 2013 track “Come Down to Us” ends with an audio sample from a speech Lana Wachowski gave when she received the Human Rights Campaign Visibility Award. When receiving the award, Wachowski speaks to her experience coming out as transgender through the metaphor of space and access. The sample ends with Wachowski stating, “this world that we imagine in this room might be used to gain access to other rooms, other worlds, previously unimaginable.” This piece is about inhabiting a space between, the queer middle, eliding the imaginable and unimaginable, possible and impossible.

Guiding quotes from Bachelard are listed under each movement.

i house and universe
[ i follow the line of the moldings Which follow that of the ceilings ]
[but there are angles from which one cannot escape]
[when the peaks of our sky come together my house will have a roof.]

ii intimate immensity
“Immensity in the intimate domain is intensity, an intensity of being, the intensity of a being evolving in a vast perspective of intimate immensity of the world, which they transform into intensity of our intimate being.”
“Grandeur progresses in the world in proportion to the deepening of intimacy”

iii: the dialectics of outside and inside
[...Silently the birds
Fly through us. O, I, who long to grow,
I look outside myself, and the tree inside me grows.]

Written for, premiered and recorded by lovemusic collective
Recorded and mixed by David Bird

enclosures - for lovemusic

memory fades

Cortèges
for singer/dancer, large orchestra and electronics
(binaural recording, please use Headphones)

Voice : François Chaignaud
Conductor : Alain Altinoglu
Orchestre de Paris

Composition : Sasha J. Blondeau
Livret : Hélène Giannecchini

Recording : 06/09/2023, Philharmonie de Paris, Salle Boulez.
Sound recording : Radio France / Ircam
Mixing : Luca Bagnoli & Sasha J. Blondeau
Score publisher : Durand - Universal France

Coproduction Philharmonie de Paris, Ircam-Centre Pompidou
Dans le cadre de Manifeste-2023, Festival de l'Ircam
Avec le soutien de la Villa San Francisco, de la French American Cultural Society, de la Fondation Royaumont et de la SACEM

Cortèges

Cortèges - voice, large orchestra & electronics (binaural)

From the album Machines & Corners — Download on bandcamp: https://jonasruchenhever.bandcamp.com/album/machines-corners

Breathing (with music by Erokia)

Katarina Rose

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