Enter – m’scape 02 – directly here
is featuring these artists
audio_z aka Tautvydas Bajarkevicius (Lithuania)
ELICHEINFUNZIONE – Davide Fabbri (Italy)
Josh Goldman (USA)
Ronald J. Herrema (UK)
James Kelly (USA)
Savvy Krajcek (UK)
Tsui-Lun Liu (Taiwan)
Stefano Pasquini (Italy)
Michael Pounds (USA)
Debashis Sinha (Canada)
Jacqueline Then (Singapore)
Tetsuya Umeda (Japan)
‘leaving’ is a cinematic journey through imaginary urban soundscapes. transparent bright melancholy and nostalgia, embodied into massive melodic fluxion, vocal tunes, field recordings, aspires reminiscences of anonymic spaces. as if you were rising from the memory airport filled with sonic snippets of unrecognisable whispers, colourful shades of purified impressions. musically, “leaving” is a mixture of digital glitchy and organic sound, immersed into a melodic flow. published in the mp3 release “by way of conclusion”
ambience of atmospheric sound and intimacy of voice, vast and rich amplitude of sonic nuanses. a childish song, as a main motive, disseminated in the streaming waves of echoes. published as a part of audio_z mp3 release [x]
remixed vocal quotes from sonic film imagery, sinking into the rhythmic, multilayered and melodic passages. ecstatic music in an experimental manner. published as a part of audio_z mp3 release [x]
Interview for SIP – SoundLAB Interview project
1. Free The Combo
2. Regular The End
Those tracks are two last part of “Suite n°3” in 5 movement. This suite’s story starts from “stuff to save” folder in my hard-disk, where little ideas find place waiting to be re.loaded on some music files. I open this folder when I don’t have any new idea, so I browse back this memory hoping this time would be possible work and finish a work completely. Such to give to this memories an identity.
Free The Combo:
The starting synth loop start with a gliding bass line that supports all track till the end. This bass lines changes in variations and then comes a “free” overloaded keyboard that goes slowly into his solo, recorded before adding all drums. Also drums are “free”, that means they didn’t plays in a simply 4/4 tempo. I have think to a free jazz combo playing with a syncopate mood through my software and hardware. In the whole work of suite this part moves to an unquantized sound area, where tunes eard before acts a different and unfamiliar role.
Regular The End:
After the “opened” minutes of previous section comes a most straight zone that’s lead the suite to his end. Instruments are the same, but much less in fragment and on running regular flow. Also most of melodic and some rhythmic patterns plays themselves during all suites movements, but changing role and position (and identity) according to what happens around them.
Interview for SIP – SoundLAB Interview project
(2003, 6 minutes, 27 seconds)
is a stereophonic sound structure composed for seven vocalists (none of whom are using their vocal cords). During playback (in complete darkness), the compact disc should be played as loud as possible, without causing damage to any speaker equipment, or anyone’s ears.
(2005, 40 minutes)
is a 40 minute sound structure composed for a specific ensemble (electric guitar: performed by Josh Goldman, electric bass: performed by Bob Ross, percussion: performed by Michael Evans) and electroacoustic soundscape. The performance should take place in a planetarium (or other meditative space). The electroacoustic soundscape is heard continuously (with some exceptions). The ensemble performs 5 interjections during the electroacoustic soundscape.
Habitation/hone, Sweet Home
Habitation/Home, Sweet Home integrates recordings of automated telephony and of political speeches in an effort to shed some light on the algorithms of power. The first half, Habitation, takes the form of a set, telephonic “soundscape”, whilst the second, Home, Sweet Home, involves the use of my Max/MSP brassage patch to interactively trigger, sample and shape approximately seventy sound files, creating textures of up to 22 voices and ranging across various levels of intelligibility. This is a stereo version of what was originally an 8-channel work.
Birds playing in the snow
Birds playing in the snow was created from unused recordings, stored on back up CD’s and discarded Mini discs. The sound of a melancholic pianist improvising in a quiet room while thinking about birds in the snow, the laughter of a past girl friend captured on Mini disc or reversed guitar tones from an old cassette rediscovered and juxtaposed to create a collage of memories for the composer and a experience of timelessness for new ears.
Newly Confused is a memoryscape populated by various sonic ghosts from my own recordings made over the last 15 years or so. Layering a variety of tones and fragments from different periods the piece physically brings together snippets of recorded time and presents them in a new temporal context, with each sonic event bleeding into the next, forming new ambiguous associations and triggering new responses. I’ve attempted to create a sense of textural and chronological depth that allows the piece to progress not just from beginning to end along its duration, or from one successive ephemeral event to the next, but also backwards and forwards through layers of superimposed time.
Voice Recording and digital sound editing
“Good Torture” is sorrow work. It consists of 4 text sound pieces, I hate her/I don’t hate her, Good Torture, No, Love Applause, which are fragments of memory and words of deeply repressed feelings. “Good Torture” is also reflection of the artist’s view on today’s world. I hate her/I don’t hate her is a counteraction of emotional correctness. Hatred is not positive, but “Wer nicht hassen kann, muss leiden.” (Those who can not hate have to suffer). Good Torture simulates 2 sounds; girl’s talking of different kind of tortures and woman’s hiss. The power to torture people in different methods lies on hands of those empowered. No is weak resistance. Love Applause shows a tiring event of cheerful applause.
Interview for SIP – SoundLAB Interview project
First Casio Song
2005, 2′ 28″
This song was made with a 80’s casio keyboard that I bought for my daughter Yumi. She also helped with the song, even though at the time she was only 11 months old. I was just trying to get a sound feeling about the time of the keyboard, without sounding too 80’s. Nothing too conceptual then.
1. Mixed Messages
“Mixed Messages” is a remixed version of a much longer composition entitled “Messages.”
The original composition was inspired by a collection of reel-to-reel tapes recorded
by my late father when I was a small child. As the piece took shape, it became an
exploration of the sounds of technology and the ways in which technology affects our
various forms of communication. On another level, the piece is about my father, whose
love of music and technology was certainly influential in my own choice of careers.
Some of the source recordings are from the World Soundscape Project Tape Library at
Simon Fraser University (Canada). The piece was begun at the University of Birmingham
(England) and completed in the Music Engineering Technology studios at Ball State
2. Blowout (expanded)
“Blowout (expanded)” began its life as a one-minute composition created for a
celebration of the 50th birthday of Jonty Harrison, the composer’s former teacher at
the University of Birmingham in England. This expanded version of the piece develops
ideas from the original composition along with new material to create a much longer
piece. Rather than the celebration of a birthday, this new piece can be considered a
celebration of the composer’s marriage and the completion of his doctoral degree.
1. making gongs
3′ 01, 2001
is constructed using the sound of 5 men beating metal in a small gong factory in Solo City, Java. Gamelans are still constructed in this way, and the process of heating and striking in the act of creation is a deep and profound thread to where the metal will go. It is a record of an unbroken line of creation, using the same techniques used in the past and that will be used in time to come. This piece presents the process and the result, with resonances on many sonic and psychic levels.
2. the lying down man
2′ 10″, 2001
the lying down man
it had been five years but he was in exactly the same place when I went looking for him that Christmas he is always there he doesn’t speak only lifts his head and keeps his two stumps for arms moving always moving and head up he never stops I can feel his exhaustion and each time I see him I give him all my change and even though I know the crook who puts him there every morning collects the money I can’t help but hope that maybe my few extra paisa will
make him easier on the lying down man I can still see him there on his belly in the sun and sometimes he comes unbidden into my thoughts I panic to think of him there in the heat with no shade no possibility of getting up to get some water from the pump or to eat or even relieve himself all day hammered by the heat and the exhaust from the cars on chowringee
and when I remember that I never ever even offered him water or a sliver of orange I feel like weeping And my heart becomes hollow
3. jaal mala (garland of water)
6′ 42″, 2001
jaal mala (garland of water)
is a path through and along the Hoogly river in Kolkata, India, starting at Belur Math, the headquarters of the Ramakrishna Mission monastic order and a place very dear to my heart. The genesis of the piece came while watching my father descend the bathing steps to wash his feet in the water. Using the sounds of the riverbank, I went along and inward to finally come out washed clean on the other side, in the streets of Kolkata.
The Singapore Homeworker
A Singaporean youth version of Madonna’s “American Life”, integrated with “The Song of the Homeworkers” from a literature textbook.
fan-band plays the Karaphone