Pieza para bocinas que se relaciona con diferentes materiales sonoros dentro de la música electroacústica, la improvisación libre y la música instrumental contemporánea. Para la pieza se generaron sonoridades basadas en distintas lógicas de sonido y discurso, que se interpolan durante la pieza de diferentes maneras, generando relaciones entre las fuentes, sin perder su origen tipológico, las manipulaciones son utilizadas como aglutinante para tejer un desarrollo intercalado de morfologías.   

En ese sentido es una pieza narrativa que presenta objetos sonoros disimiles que se encuentran en líneas paralelas/asincrónicas, las cuales paulatinamente van entrelazando elementos de densidad, temporalidad, timbre y frecuencia para los que se emplearon diferentes técnicas “clásicas” electroacústicas, y librerías de Python en TensorFlow, entre otras aplicaciones de Machine Learning basadas en SampleRNN.

El formato es ambisónico y se puede presentar en sistemas para audífonos o multicanal donde el aspecto espacial cobra una dimensión dentro del discurso, con al menos 6 canales.

RNN-I

A Portfolio of my Production / Remix / Writing and work for other people. 

Astronaut - Yila ft Scroobius Pip (Production / Writing / Programming / Mix)

ByLuci - 2

Trk2.3 (Live and improvised in Berlin)

Overload (Edit)

The letter was long winded and passionate. She had hoped that it might not get the better of her but at this moment in time she continued to weep a solemn sense of sadness at the poignancy of the loss. Walking out from the chapel she left behind a delicate tail of intricately woven misery and torturous anguish. It had never been supposed to end up like this for her, for her family, her friends and her lover. Now as the story came to a bitter yet fickle end she dreamt no more. 

Yila is remixed by an array of exceptionally talented musicians on a new EP for Supremus Records. Dave DK works his usual wizardry blending soft whispering vocals alongside his ominous electronics.

Better (Of) Me

PREMIERE: Yila - Better (Of) Me (Dave DK Remix)[Supremus]

ZOINGBUM

* Read more / Interview:  https://boltingbits.com/bruise-grand-hi-meda-fury
* Watch on YouTube: https://youtu.be/g4qNAk2-1Uk
* Pre-order: https://bruisebruise.bandcamp.com/album/presentation-ep

Bruise, the new duo consisting of British underground upstart Sona Vabos and 90’s UK House stalwart Diesel (of X-Press 2 fame), are on a mission with their sprawling, ecstatic debut, Presentation EP. Despite occupying different niches and career points in the ever-shifting landscape of underground UK electronic music, these two clearly share an affinity in their approach to music-making; no-punches-pulled, unadulterated, classic-House indebted dance-floor igniters. 
	Case-in-point: the first track off the B-side of Presentation, “Grand Hi.” After the explosive, choir-vocals-infused A-side opener, “Jagged Angel,” and the more subdued, yet pummeling dub-techno of follow-up, “Dark Sun”, “Grand Hi’s” opening disco piano chords feel like a warm ray of sunlight bursting through the grimy clouds. What’s so remarkable about this track is how it incorporates many of the elements so commonly found in early-90s Detroit or Chicago House, and yet makes it into something other than just pure revisionism, something wholly exciting and expansive. The key here lies in the simplicity of the structure and the attention paid to each arrangement. As the piano undergirds the whole track, Bruise seamlessly introduce more and more elements, including, most notably, a Nile Rodgers-esque guitar line, swelling orchestral strings, and, of course, those crisp hi-hats that simply beg dancers to clap along while being swept away amongst the rushes of euphoria.
	With this track, the duo seems to have tapped into the essence of what makes house music so timeless. There’s not a single detail that feels out of place here, yet there is no fussiness or overwrought tinkering either. This speaks to the kinetic chemistry of the collaboration itself and the meeting of two minds on the same tireless, party-starting wavelength.

Presentation EP

PREMIERE: Bruise - Grand Hi

Yila (Featuring Giom & Alleged Witches) - Functional combinations and collaborations VOL. 1
Release Date: 29th June 2020
Label: Nature Scene Records
https://soundcloud.com/yila https://soundcloud.com/allegedwitches

The ‘Functional combinations and collaborations’ release series begins with Vol.1. Yila, an ex-Londoner based in Ljubljana, collaborates with 2 Dj’s; French Londoner Giom and Slovenian Christian Kroupa AKA Alleged Witches.

Unable to conceptually engage with the current political and social situation, Yila wanted to use a musical form that was political in its nature. Inspired by watching acid house and techno documentaries such as 'Everybody in The Place: An Incomplete History of Britain 1984-1992' - Jeremy Deller, he realised this genre of music could be a finger to the establishment without the need for heavy concepts. Here the music purely functions, it compels people to dance and exists in a subculture that could elicit change…..hopefully

The personal combinations were the focus; each collaborating artist bringing their own unique style, this natural melding deciding the genre without confines.

Sprinklings of nostalgia meet a future thinking fusion of dance music. With a focus on slick production, mix, and 3D spatialisation techniques, there is a subject matter; not expressed through the contrived mind but through subconscious sonic delivery. “I am so far removed from the club scene that the ideal sonic experience only exists in my imagination” - Yila

This is one of Yila’s most commercially accessible dance releases. True to functional form this release will be on 12” vinyl, distributed by Juno, Nature Scene Records on the 26th of June

LISTEN ON YOUTUBE

PREMIERE : Yila Ft Alleged Witches - Murmurs

Bird Song uses natural phenomena of just intonation, which often have led to just intonation being ‘problematic’ and disregarded, as primary techniques. Specifically, it explores how pure stacked Pythagorean 5ths lead to comma discrepancies and subsequent acoustical beating when enharmonic equivalents are reached. It demonstrates how the beating from the comma can be used not only on a melodic level, but on a rhythmic level too. The compositional techniques are greatly inspired by La Monte Young’s The Well-Tuned Piano (Young, 1987), in which he emancipates commas by using them throughout the 5 hour long piece to characterise the work, and introduces the concept of playing in time to acoustical beating (Gann, 1993).

To achieve controlled beating, my composition uses a series of stacked pure 5ths building on F. The material begins with sine tones tuned to fundamental F giving a pure, clear sound. As the piece progresses, a sine tone of A, a third, slowly shifts frequencies, introducing the sensation of beating before settling. Then 5ths are introduced in alarming clusters. At the end of the introduction an E# is introduced, which causes acoustical beating against the F. It does this because the stacked pure 5ths cause the 12th 5th, E#, to be 23.46 cents higher than the F (Sabat, 2018, 16), a Pythagorean Comma . In equal temperament this would sound simply as an enharmonic equivalent of the same frequency, since the temperament narrows each of the 12 5ths, compromising purity but eradicating this comma. In Bird Song, this beating becomes established as a pulse, and vocalised melodic motifs begin, in time with this ‘pulse’, tuned justly to the fundamental F.

I wanted to explore ideas of organicism and nature and so the lyrics are about birdsong. According to a study by Emily Doolittle, Hermit Thrush birds tend to sing in harmonic series (Doolittle, 2014). Moreover, bird’s timbres, melodic patterns and imitation in their singing draw parallels to human music making. I feel that linking pure harmony and aspects of just intonation to birds makes the composition appear rooted in nature, and thereby more accessible. 

The style of the piece is quite theatrical, like a song and dance piece. This is due to the steady pulse of the beating, which invites synchronised movement, and could be further re-enforced with percussion like a tambourine. The notion that the pitches are tuned to a natural system and that the physics of sound determines this rhythm makes the pulse incredibly powerful, as the elements of the piece are linked strongly and organically. Further exploring the work as a theatrical spectacle, I wrote the lyrics in Italian as I feel it connects to connotations of opera, which originated in Italy. The lyrics seem to fit beautifully in the Italian language too. 

The composition also has a folky feel, with lots of similarities to Western culture ballads. This is due to the repetitive motifs and lyrics of the vocalists, the improvisatory feel of the simple melodies, the sine tone drones and fairly simple overarching harmonic schemes. Furthermore, topics of folk songs are also often rooted in nature and in portraying purity. The folk genre is associated with a sense of society but also comfort and home and integrating these connotations into the composition helps to make it accessible.

Bird Song demonstrates great potential for how musical pitch and rhythm, which often become isolated as separate elements, could be linked and developed. If just intonation is further explored and commas are emancipated, it could make performance of music much more powerful and wholesome, and responses to music could be greatly magnified because of it. Particularly in theatre and opera, dance could be linked to pitch’s natural determination of rhythm and pulse, embodying the experience of natural harmony.

Bird Song

YILA is the name for a changing collaborative project lead by Sound Artist Alastair McNeill.

His work takes many musical forms; performing with David Toop’s Unknown devices group, Producing for Scroobius Pip, touring with Roisin Murphy, designing immersive musical theatre pieces, working with authors on voice manipulated ambisonic installations and most recently working with Laibach’s vocalist Mina. Alastair McNeill a prolific experimenter, keeps shifting his own musical boundaries from Orchestral Pop / Electronica to Techno and noise within this Moniker.

YILA has self released and with labels Sunday Best, Sliver Bear and Supremus Records