Editing Flow

From "Insitu" original soundtrack, movie produced by PVS Company

LOST IN TIME (Tristan Bres)

Glassworks Opening, composed by Philip Glass in 1982.

The original is piano solo. I try to play it with an additional Farfisa sound, and some heavily modulated synth choirs during the "chorus" inspired by his opera sound. I also played it just once, it's supposed to be repeated 3 times.

Live video: http://youtu.be/Ziq7mUNni1c

The instrument is a Clavia Nord Stage 2 using a sampled  Yamaha C7 grand piano, a simulated Farfisa organ, and modulated synth choirs.

Updated with a better take on July 4th, 2014.

Video

Philip Glass - Glassworks Opening [piano + Farfisa + modulated choirs]

First Light

Time

Time (Dotlights Rework)

Soothing Neptune

The Space Between

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd  March 2018. The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit’s recordings, they volunteered to edit the lead track Illogical Lullaby. 

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha’s birthplace, when she realised singing was her calling. While staying at a women’s temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe. 

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts. 

“The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature’s many sounds, a language that isn’t logical. Yet it forms a beautiful conversation that isn’t restricted to words like the human language is. I want my music to remind us of that.” — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit’s own vocal chords. The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit’s full range and introduces a truly original artist. 



After participating in a memorial and appreciation ceremony tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo. 

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She’s also been announced as part of this year’s Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

Illogical Dance

Buy 12" / CD / DL

Hatis Noit - Illogical Lullaby

Morton Feldman: “Rothko Chapel” für Viola, Celesta, Schlagzeug und Chor
Xandi van Dijk, Viola – Malgorzata Walentynowicz, Celesta - Rie Watanabe, Schlagzeug
Kölner Vokalsolisten, Michael Ostrzyga (Dirigent)

8 Brücken Festival, Köln. WDR Mitschnitt, Mai 2016

Unbekanntes Album (21.09.2017 15:51:57)

Morton Feldman: Rothko Chapel (live)

Shida Shahabi is a Swedish-Iranian pianist / composer, currently based in Stockholm. The beautiful, intimate and homespun piano of ‘Homes’ marks Shida’s debut release and the fourth in a row of new albums by female-fronted artists released on 130701 this year.

The entirety of the album was recorded at various home locations. During the writing process, Shida was renting a one bedroom appartment which she used as a studio space, before moving to a new house in the midst of the recording. So the music was actually written in one home studio and recorded in two different living rooms, hence the title, ‘Homes’. A sense of this homeliness and unpressured ease is clearly audible across the album – something utterly natural and unforced. There are no whistles and bells attached here, no big name guest performers or hired studio hands. Absolutely beautifully played and composed, it is a deeply charming record that exudes a confident warmth and an emotional depth and honesty in every note. Its production eschews the prioritising of cleanliness, with a warm, fuzzy noise floor audible from the very first track immediately immersing the listener into this sublime yet imperfect reality – as though the whole existed beneath a layer of dust. It posits comfort over obsessive cleanliness. Living comfortably with traces of wear and decay, the recording makes audible intimate acoustic details and imperfections – creaking and hissing; tiny distortions; the pressure exerted by fingers and feet against the piano’s pedals and keys.

Homes

Shida Shahabi - Pretty In Plums

Dustin O'Halloran - An Ending, A Beginning

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The multi-genre platform has extensively served as an authoritative platform for dance music heavyweights such as Skrillex, Feed Me, Zedd, Noisia, Dillon Francis, Chris Lake, and Madeon; a combination of dark, forceful techno and complex, electro sounds, the label acts as a hotbed for rising talent such as REZZ, Getter, i_o, ATTLAS, No Mana, Matt Lange, and others alike. Welcome to the horde.

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Morton Feldman: Rothko Chapel (live)

Xandi van Dijk

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