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Schunkelmusik

Daniel Ruane - Tengu EP
Format: Dubplate / Digital
Cat.No. MNDUBPLATE01
Release Date: Physical 11 April 2019 / Digital 19th April 
Purchase here: meinenacht.bandcamp.com/album/tengu-ep

"Tengu is Meine Nacht's first venture into label territory, the debut EP comes from Daniel Ruane. Daniel's previous releases have been recognised for their mind bending, intellectual approach to 3D sound design and glitchy stop start methods.

The title track could be regarded as the frantic soundtrack belonging to an anxious generation. There's defiance within its warped and frightened structure; a passion for tearing down walls, dissecting normative systems and glitching madness that floats on the periphery of insanity.

It opens, full of optimism, with visions of an otherworldly utopia, before transcending into a manipulated fucked-step. Twisted rhythms, organic/robotic hybrids and mutant grooves, delivered with extraordinary accuracy, birth a form of experimentalism that is at home on the dance floor.

IV (CF_BD) shines a searchlight on a computerised battle. These are Ruane's biological impulses in mechanised form. A dextrous, rhythm provides a loose template for controlled chaos as lairy bass pressure, overdriven kicks and difficult rhythms treat the track like a statue of Perseus being carved out of stone".

Mastered by Declared Sound
Artwork by Thomas Murray

@daniel-ruane-2

Daniel Ruane - Tengu (MNDUBPLATE01)

2019untitled038wip

This EP is a collection of 6 tracks of melancholic computer funk, as 6 states of a robot’s mind which can experience and transmit feelings in his daily life.

Mastering at Studio900 – bit.ly/_STUDIO900
Artwork by Adri Valls – www.adrivalls.com

Vf089 - Drk.Bot.Rx2

Xoop - prince.aux

from oh boy 3 out now on bandcamp

https://velumbreak.bandcamp.com/album/oh-boy-3

Gorgonite

Eighteenth episode of our "States United" show on @n10-as, with guest @soundsofgap

States United 18: Gap

Published under a Creative Commons Attribution-ShareAlike 3.0 Unported License 
https://creativecommons.org/licenses/by-sa/3.0/legalcode

Helge Meyer - Noise Music

UVL is proud to release two new side-long compositions from Max Eilbacher. Edition of 150 three color risograph print.

Digital Sketch For Strings
One morning I had an idea for a string composition. The tonal colors of the strings would be constantly morphing between shifting intonations. A rising and falling spectrum of many different sonorities would construct a throbbing, living whole. The gestural and perceptive qualities of the stringed accumulation would exist somewhere between glacial and in constant motion. I ended up using saw waves instead of string samples or acoustic instruments, as I found the harmonics of a saw wave helped achieve what I was hearing in my head that morning.

Spectral Masking Room Construction
A work exploring onset partials on audio perception and spectral masking. I started with a woodblock sample. For me, the woodblock's harsh yet beautiful striking sound is complex. The short burst acts as an extremely salient and trepidatious sonic cue. After listening for hours to a single strike and performing in-depth spectral analysis, I began to hear and comprehend the strike’s intricate material composite as extending beyond its short temporal life. The burst started to exist as an impulse response. With each strike, information about the space in which the woodblock’s material existed for the recording was communicated. The room in which the wood was struck was just as much a part of the sonic material being heard as the wooden material colliding with one another. Synthesizing the woodblock sound from scratch turned into a minute study of individual partial’s attack and decay times. I used the results of spectral analysis and composed around the initial short strike. The pitches comprising the fundamentals and overtones in the sample were extracted in various clusters and used to create a few different digital synths. The timing structure of the sampled and synthesized strikes are controlled by a simple counting transform. By doing so I set conceptual throughlines for the variants of struck sounds. The many variations of partials being highlighted or sent to the audio background serve to imitate “fake” spaces in which these sounds exist and convey subtle architectural information to the listener.

- Max Elibacher, 2020

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