2018-10-29

music

also on youtube

experiments using subtractive synthesis 2003-2005

partly conceived as inspirational prototypes

each track has something the others have not. sometimes they just briefly explore a technique and fade out, at other times they follow more elaborate creative strategies. for example, one idea was to invert the usual ways in which percussive and melodic instruments are used - melodic instruments become the more repetitiuous part and percussion plays more melodically. melodies are often spread over multiple instruments so it can lead to a chase over many subtle sounds and harmonies. effort has been put into hiding brief sounds in the background. "if you expect something specific then you miss what you actually hear" was one guiding idea. this was in accordance with the general use of elusive narratives that require active effort to be followed. i wanted it to mirror a personal insight that inattention is not without consequence, basically that conciousness is important and that it can be rewarding to discover details and patterns in what may seem distracting. other techniques to archieve this are in the mixing, which concerns the setup of volumes of individual instruments, which is in many cases set up so that the tracks reveal more the higher the volume - like having to listen closely - but as a consequence the more so distracting becomes the general forest. while i would not do it again like this, i still find the rawness of the sounds unusual and interesting. you will find polyrhythms, a wide dynamic range, electroacoustic music with mostly synthesised, self-designed instruments and creative use of stereo channels. everything was made in two years, about one track every 4 days

license

cc-nc-sa. free to copy, create derivatives/remixes as much as you like and to use samples, all without asking for permission when used non-commercially

albums

all files

best of

stream lossless below or download a package here

1 felt

2003 9 tracks 1.5ks (26 minutes)

first musical tries. the first three tracks are a concept on creative process: conception: "session", work: "build up", and "use". it is different from the following albums in the structure of tracks and that it uses pre-recorded bits of sound primarily. i would recommend to listen from start to end, as i think it can be rewarding, and it is only 1.5 kiloseconds long. there is only one track that i would leave out in the future

track notes

build up: all sounds synthesised. notes are incomplete and are gradually increasing in length and distinction, hitting hammers and metallic clattering

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50MB | copy

4 prosper

2005 19 tracks 4.4ks (1 hour 14 minutes)

track notes

  • 5f3: switching filter types. only synthesised sounds
  • kalo: no guitar involved. only synthesised sounds

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408MB | flac | copy

5 unacc

2005 57 tracks 9.3ks (2 hours 35 minutes)

two parts: 1 unacc 2 add atmospheres. even more experimental than "4 prosper". second rate tracks that had not been included in any of the other albums

track notes

  • whitesea: very low-key and subtle. supposed to sound like ocean and misty distances. only synthesised sounds
  • atekkbase: switching between oscillator wave patterns
  • silverglanc: slowly progressing layering with switching sound routes between different effect channels
  • tdt: a prototype
  • teufelsbluhend: had to hit and keep holding a lot of keys at once in this one
  • kalo hyellow: sounded "yellower" than the version on "4 prosper"
  • flier: i always liked the intro of this one, though it never got completed
  • 0range beat: made a significant editing mistake here and lost the source
  • fun3000: this is what it can sound like to use a different synthesizer
  • halco: slow with very deep bass sounds
  • non-specific acoustic stimulation: quite non-specific

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2, 3, 3.1

2004 24 tracks 3.2ks (54 minutes)

there is a contrast between the first and second part, the second being darker in tone. i would prefer 3 to 2. 3.1 is different because it is a harsher noise album

track notes

  • extension and the extended: here tempo is constantly stretching and condensing. the hi-frequency noise has different envelope-release times per note. the melodic instrument has gating applied to cut the sound off at various lengths in various intervals. the background synthesiser has quite its own liveliness
  • get me phoenix: pre-recorded samples and rhythmical hat modulation
  • mood 2: dissonant part at the end
  • schlachters spieluhr: culture critical track called "butchers music box". all sounds synthesised

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2015-ph voice improvisations

  • each track is a different, continuously stereo recorded voice improvisation
  • the only effects used are: speed change (with and without pitch correction), reversion, delay and reverb
  • only removal of parts, no reordering, layering or copy and paste. the point of these experiments was to create all structure initially at once only using voice
  • all effects are on the whole track and not changing
  • the flac files have an audibly far better resolution

here