Electroacoustic

Either implying use of acoustic string instruments or the processing of microphonic recordings as compositional material.

echelon

Echelon appears on Drosophelia's "Imago" album, released on September 9th, 2019....

Echelon appears on Drosophelia's "Imago" album, released on September 9th, 2019.

vid flumina

Recorded in Bitwig Studio. Instruments evident on this recording are (amongst others) the Phase-4 synthesizer provided by Bitwig, shredded delay by the custom-built Regrader plugin....

Recorded in Bitwig Studio. Instruments evident on this recording are (amongst others) the Phase-4 synthesizer provided by Bitwig, shredded delay by the custom-built Regrader plugin.

crestfallen

A short waltz piece inspired by the minimalistic compositions of Erik Satie. The sparse, single instrumentation of his pieces has been abandoned in favour of complementary electronic sounds. The main motif is alternately played by piano, classical guitar and a khim (zither / dulcimer-like eastern instrument). Crestfallen appears on Drosophelia's ...

A short waltz piece inspired by the minimalistic compositions of Erik Satie. The sparse, single instrumentation of his pieces has been abandoned in favour of complementary electronic sounds.

The main motif is alternately played by piano, classical guitar and a khim (zither / dulcimer-like eastern instrument).

Crestfallen appears on Drosophelia's 2018 EP, "Pupa".

catechism

A composition that at its very core is a simple finger picked classical guitar piece that should be able to hold its own without accompaniment. Thus, apart from minor forays into breakbeat rhythms and atmospheric drones, most additional instrumentation is sparse....

A composition that at its very core is a simple finger picked classical guitar piece that should be able to hold its own without accompaniment.

Thus, apart from minor forays into breakbeat rhythms and atmospheric drones, most additional instrumentation is sparse.

This Paradox of Mine (ft. Pelle Kuipers)

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project. For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song. Apart from writing and recording the music, Sketchy Songs also provides a platform for video / graphical art as e...

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project.

For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song.

Apart from writing and recording the music, Sketchy Songs also provides a platform for video / graphical art as each song will be accompanied by a video.

For This Paradox of Mine most writing duties and singing came from Pelle, with production and background layers provided by myself. The video comes courtesy of Pelle, Amber Vermue and Lisa Raisa Ferrari.

byzantone

Having been without the sonic nor lyrical inspiration to finish the two "proper songs" that are in the in the pipeline, "Byzantone" came about after deciding to spend a day off with the assignment to "create a short groove in 7/8-time using the Byzantine (double harmonic major)-scale and its derived chords". The track is the result of imposing two...

Having been without the sonic nor lyrical inspiration to finish the two "proper songs" that are in the in the pipeline, "Byzantone" came about after deciding to spend a day off with the assignment to "create a short groove in 7/8-time using the Byzantine (double harmonic major)-scale and its derived chords".

The track is the result of imposing two requirements prior to writing the composition : it must be in an odd meter and feature a non-Western scale/mode. Apart from meeting these prerequisites, the track had to be completed in a "see how for you can get within a few available hours"-time constraint to keep spontaneity.

whirr

A quick sketch in the "acoustic-slide-guitar-recorded-in-the-kitchen"-vein. To break with potential roots-music connotations the MS-20 style filter on the KORG Monotron features heftily for all things bass and rhythmic. The third and last instrument used is a MIDI controlled guzheng for its eastern twang....

A quick sketch in the "acoustic-slide-guitar-recorded-in-the-kitchen"-vein. To break with potential roots-music connotations the MS-20 style filter on the KORG Monotron features heftily for all things bass and rhythmic. The third and last instrument used is a MIDI controlled guzheng for its eastern twang.

foulmouth

After originating as an exercise in rippling classical guitar arpeggios, the final result is far removed from the original mellow vibe. Keeping the dark harmonic minor tonality, but ditching the acoustic guitar of the demo, the compositions arpeggiated melodies have been synthesized by an Atari 2600, limiting the polyphony to only two channels.Bein...

After originating as an exercise in rippling classical guitar arpeggios, the final result is far removed from the original mellow vibe. Keeping the dark harmonic minor tonality, but ditching the acoustic guitar of the demo, the compositions arpeggiated melodies have been synthesized by an Atari 2600, limiting the polyphony to only two channels.

Being an outtake for an Atari-related project where the track didn't fit the context, a different approach was taken where the Atari sounds act as part of a larger palette.

Added to the lo-fi paranoia are the glitchy beats, both holding back and pushing the rhythm by shifting their accents in the otherwise conventional 4/4 meter. Droning guitars rumble over the square wave assault.

The Atari 2600 parts have been programmed using Paul Slocum's sequencer kit and excellent programming guide.

jaunty

The piece is led solely by a single finger-picked classical guitar and minimal accompaniment, incorporating a rag-time rhythm lending a horse-falling-over flavour to the main theme. At the end the original demo - recorded on mobile phone in a less than hi-fi manner - makes an appearance as the low fidelity ambiance seemed to suit the piece, and th...

The piece is led solely by a single finger-picked classical guitar and minimal accompaniment, incorporating a rag-time rhythm lending a horse-falling-over flavour to the main theme.

At the end the original demo - recorded on mobile phone in a less than hi-fi manner - makes an appearance as the low fidelity ambiance seemed to suit the piece, and the composition remained unaltered.

glass

Short piece originating on acoustic guitar, written and performed for the ivories.The piece is deliberately short, apart from a single appearance of a bridging section featuring a brief accompaniment on electric guitar, the piano theme is a repeating motif, altered slightly every few bars or so.Aural weaponry of interest evident on this recording: ...

Short piece originating on acoustic guitar, written and performed for the ivories.

The piece is deliberately short, apart from a single appearance of a bridging section featuring a brief accompaniment on electric guitar, the piano theme is a repeating motif, altered slightly every few bars or so.

Aural weaponry of interest evident on this recording: the Bazantar software instrument by 8DIO provides both organic percussive sounds and breezy strings.

the gospel of the hoof

..."preached at the altar of decay", of course. This can be described as pastiche for those of an industrial metal-bent. Guitars are down-tuned to B for a typical grinding flavour. Further sonic manglings are catered for by the Elektron SID station and bass guitar thumping. A quick burst of energy-type-of-tune....

..."preached at the altar of decay", of course. This can be described as pastiche for those of an industrial metal-bent. Guitars are down-tuned to B for a typical grinding flavour.

Further sonic manglings are catered for by the Elektron SID station and bass guitar thumping. A quick burst of energy-type-of-tune.

fisher price deathmachine pt. II

One of the louder tracks on display. Loud drum snares and distorted guitars make for a very violent mix, led by a chugging groove backed by industrial washes which is probably reminiscent of what would happen if there were a transitional album between Antichrist Superstar and Mechanical Animals, if that was written by KMFDM. Abstract breathing sou...

One of the louder tracks on display. Loud drum snares and distorted guitars make for a very violent mix, led by a chugging groove backed by industrial washes which is probably reminiscent of what would happen if there were a transitional album between Antichrist Superstar and Mechanical Animals, if that was written by KMFDM.

Abstract breathing sounds set a industrial atmosphere over the rigid four-to-the-floor kick and hi-hat patterns.

For additional interest, syncopated snares sounds and open hi-hats float around the main percussive rhythms just before the distorted sounds give way a cleaner epilogue.