Night

dark, organic. The sound of sleep deprivation and paranoia set to music.

siltstone galleries

Aural weaponry evident on recording: a lot of microphonic recordings really: acoustic guitar, multi layered vocals / glossolalia mumbling. The distorted delay comes courtesy of the custom made Regrader plugin, which is available for free on both macOS and Windows here...

Aural weaponry evident on recording:

a lot of microphonic recordings really: acoustic guitar, multi layered vocals / glossolalia mumbling. The distorted delay comes courtesy of the custom made Regrader plugin, which is available for free on both macOS and Windows here

equinox

Track written in 7/8 time signature using the Prometheus Neopolitan-scale in E. Recorded and sequenced in Bitwig Studio 2....

Track written in 7/8 time signature using the Prometheus Neopolitan-scale in E.

Recorded and sequenced in Bitwig Studio 2.

knock.turn

A portrait depicting the nighttime, or more precisely its potential for both serenity and intense paranoia. Instruments of interest evident on this recording: The main pad-like motif as well as the muted trumpet-like screeched come courtesy of a processed Piggy synthesizer (by Tasty Chips Electronics), which has a very tweakable envelope section....

A portrait depicting the nighttime, or more precisely its potential for both serenity and intense paranoia.

Instruments of interest evident on this recording:

The main pad-like motif as well as the muted trumpet-like screeched come courtesy of a processed Piggy synthesizer (by Tasty Chips Electronics), which has a very tweakable envelope section.

Most of the rhythmic and melodic motif come from the Piggy, with a few guitar overdubs and an electronic percussion during the middle climax.

intermission #2 - complaint

The results of using a mathematical algorithm for composition, using the time signature of 9/8 and the Middle Eastern Nikriz scale (in A) as the conditions.The algorhitm determines which notes are selected, their duration and their offset relative to eachother. These motifs then weave in and out of sync with eachother, occassionally overlapping, a...

The results of using a mathematical algorithm for composition, using the time signature of 9/8 and the Middle Eastern Nikriz scale (in A) as the conditions.

The algorhitm determines which notes are selected, their duration and their offset relative to eachother.

These motifs then weave in and out of sync with eachother, occassionally overlapping, at other times syncopating angularly.

The motifs were spread over bass, piano and vocal sounds for a wider palette.

Those interested in working with the algorithm (by Duncan Lockerby) can try the open source generator written by yours truly : Molecular Music Generator.

browbeat

An ever-repeating vocal breaks the repetition of its mantra-like motif by subtly dancing around the pushing electric guitar- and percussive-motifs playing in an odd (and shifting) meter. Soundtrack to a retribution....

An ever-repeating vocal breaks the repetition of its mantra-like motif by subtly dancing around the pushing electric guitar- and percussive-motifs playing in an odd (and shifting) meter.

Soundtrack to a retribution.

contorted

Probably the result of what the nutcracker's suite would sound like if it was written by Lewis Carroll. Largest part of the recording consists of toy instruments (1.5 octave piano, flute and assorted wooden trinkets for percussive effect) doused in a bath of goth, deep saw bass and dubby rhythms. Original recordings stem from 2009....

Probably the result of what the nutcracker's suite would sound like if it was written by Lewis Carroll. Largest part of the recording consists of toy instruments (1.5 octave piano, flute and assorted wooden trinkets for percussive effect) doused in a bath of goth, deep saw bass and dubby rhythms.

Original recordings stem from 2009.

bird of ill omen

Driven by a cavernous ambiance, you could describe the feel of the piece, at the very best, as "moody". The percussive opening repeats its motif endlessly, but with a time signature of 10/8 and its focus on fives, the accents appear to be floating more than they really are (to a western ear). Vocoded drones float in and out of the rhythm alon...

Driven by a cavernous ambiance, you could describe the feel of the piece, at the very best, as "moody". The percussive opening repeats its motif endlessly, but with a time signature of 10/8 and its focus on fives, the accents appear to be floating more than they really are (to a western ear).

Vocoded drones float in and out of the rhythm along with bell-like sounds and percussive water sounds to give the impression of an endless, floating ride in the darkness, to be perturbed by a heavy ride in the middle, courtesy of that-which-cannot-be-named.

flagiolettes

"...after entering the dark tunnel of the pyramid, the archeologist was met with..."Bell-like harmonics play a minimal, understated theme aided by a large decaying reverb filling out the field. Tension slowly builds with the introduction of new instruments playing mostly staccato parts in a call-and-answer approach until the pieces climax is reache...

"...after entering the dark tunnel of the pyramid, the archeologist was met with..."

Bell-like harmonics play a minimal, understated theme aided by a large decaying reverb filling out the field. Tension slowly builds with the introduction of new instruments playing mostly staccato parts in a call-and-answer approach until the pieces climax is reached, after which the tension is suddenly released.