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Showing results for tags 'minimalism'.
Found 10 results
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https://lontanoseries.bandcamp.com/album/dusk-to-dawn For fans of Tetsu inoue music. Digital download is offered as name-your-price till release date.
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Mind over MIDI - Elektrical Aktivity 5 [Expanded] Berserk Fabrik X ROHS! Mind over MIDI - Elektrical Aktivity 5 [Expanded] is out now! Available on Limited Edition CD and Digital Download: https://rohsrecords.bandcamp.com/album/elektrical-aktivity-5-expanded You only glanced at first, but more and more as each day passed, and the time of exposure began to build up upon itself, you began to realize that there was more to this picture than initial spectacle. If you can picture the very furthest, coldest, darkest part of Norway, that’s where Mind over MIDI resides. If you want to get an idea of what it’s like there, and can do without the frostbite, then this is the perfect solution. Helge Tømmervåg produces sweeping, icy synthscapes, with digital snowflakes since 1995. Copyright © 2019 Berserk Fabrik / ROHS! RECORDS, All Rights Reserved -
"Even / Ever / Over" A beatless synth piece I did, if you have 8 minutes to spare and are partial to slow spacey things... https://paulleonanderson.bandcamp.com/track/even-ever-over And here's a soundcloud link, though this one is not mastered...
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[sc5]245540128[/sc5] Taking a rather different approach from what I normally do. Basically focusing on almost one channel exclusively, on which I've spent time here and there fine-tuning since October. I did originally have percussion along with a couple of additional virtual synths, but just now decided to reduce it to pretty much the bare minimum, for a more ambient appeal. I think you have to be in a certain meditative mood to appreciate this though. Because if you're hungering for something peppy, this might turn you off. If you'd like to leave feedback, feel free. But if you'd simply like to listen for three minutes and then move on, that's fine too.
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BLUE FOURTEEN: HENRY PLOTNICK C70 + download BUY HERE Playful, meditative, painless. The stacks of entwining loops that comprise Henry Plotnick’s music are so colourful and vibrant that they become visual - you picture them as perfect circles of dots, dashes and hues rotating, multiplying, blinking in and out. This isn’t music that you have to think hard about to find enjoyable. Its appeal is as universal as sunshine and crushed ice. Though these six pieces can build into dense patterns of information - only to be stripped right back to the bare ticks, tocks and pulses - they’re never overloading or difficult to compute. Rather, Henry’s music is soothing sound for people who require too-many sounds to be able to relax: sonic Ritalin. Though highly intuitive, this music isn’t unsophisticated though - on Kinetic Point, the layered, gibbering, near-call-and-response piano motifs coalesce into something no less than Philip Glass. You may also consider the soul-cleansing patterns of Terry Riley to be a touchstone - though fun, beats-popping tracks like Wapiti prove Plotnick to be an ambient pop writer, if anything. Right now, his compositions are constructed with the most basic equipment - a keyboard and a loop pedal. They sound pretty great now, but just imagine when Blue Tapes has the finances to get orchestras performing Henry’s stuff! In surround sound. How awesome would that be? Very awesome. But there’s plenty of time for that. Right now, his synthesiser loop-sketches are the perfect introduction to what is going to be an extraordinary career. Henry Plotnick is 13 years old. Praise for blue fourteen: "'Mechanolatry' amasses layer uopn layer of snapping, plucking, yearning synthetic string sound, slowly introducing each element into a hypnotic atonal soundscape, exploring the realm of beautiful chaos as successfully as Terry Riley did on In C... He's uninhibited, optimistic and courageous, unworryingly tapping away at his keys, exploring with wide-eyed joy, and almost audibly punching the air when every new layer of sound works out. This kid's undoubtedly got innate musical ability, but his true strength lies in his patience as a spontaneous composer, something which eludes many adults, and which lends his improvisations a gradually growing allure that would make them a killer listen, even in older hands." - The Quietus "The most original new voice in minimalist composing." - Wondering Sound "It’s great avant-garde music, great synth pop, great dance music, and great classical music. Heck, it’s even got some terrific jazz. blue fourteen definitely offers a different shade of blue – and Henry Plotnick continues to astound." - Stereo Embers https://soundcloud.com/blue-tapes/blue-fourteen-henry-plotnick-mechanolatory
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New podcast: Tom Johnson talks about his compositional methods, and the influence that John Cage and Morton Feldman had upon it. Link: http://rwm.macba.cat/en/sonia/tom_johnson/capsula Tom Johnson is an American minimalist composer. A former student of Morton Feldman, his music is mainly based on the application of numerical and logical systems. His approach is unique, quite different from the free wanderings of Feldman, or the repetitions and gradual processes of other American minimalist of his generation, such as Terry Riley or Steve Reich. His music is often called conceptual but in many cases it depends strongly on the special tempo and sound qualities of the performance with traditional instruments. Such is the case of the "Chord Catalogue", a 1985 piece in which the pianist plays, without omission or repetition, all possible 8178 chords within one octave. Tom Johnson's music has a special relationship not only with numbers, but also with words. In his operas, such as the well-known "The Four-Note Opera", or in the program notes that he often writes for his music, he uses words not to tell a story, but to make the listener aware of the formal structure of the piece, as well as the evolution of the performance and the process of hearing it.
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blue four Laurent Chambert/The Fractal Skulls C20+C25 Sample + buy here! Laurent Chambert is a French visual artist and composer who has been creating beautiful and unusual art since 1990. His installations are playful, thought-provoking and visually-arresting. As a musician he has been involved in several acclaimed projects, the most recent of which is the electronic duo The Other Colors. Laurent’s submission to Blue Tapes is When The Cat Is Away The Mice Will Play. In his solo work, Laurent combines field recordings with flickering patterns of electronic sound that are both grid-like and strangely euphoric. Like the brilliant Italian producer Lorenzo Senni/Stargate, some of his work almost feels like a stripped-down-to-the-bare-atoms reading of techno. At other times it feels pastoral and immersive. Always, Laurent’s music is intrinsically ‘plugged-in’ to his environment, whether it’s the bustling cityscapes of Paris described by When The Cat... or the wells of ambient silence in his improvisations recorded in the French countryside. We’ve parcelled Chambert with a similar electronic sound artist, Chris Smith of High Wycombe, England. A studio engineer by day, Chris makes delicious minimal synth-structures under the name The Fractal Skulls. Influenced by the god-twins of John Cage+Steve Reich and Cluster+Harmonia, the music of The Fractal Skulls is unashamedly pretty, full of clockwork-like analogue pulses and holy repetition. Praise for blue four: "The Fourth instalment from Blue Tapes' ongoing delvings into the melodious pairs two like minded auteurs to produce some pretty divine outcomes... Laurent Chambert's side starts in a lock grooved hypnosis of jazzy mirror glints. Reich tonal charges, gently tempo shunted, cut back to sift through some achingly beautiful crystals of elastic duality. Piano pulses lightly dusted in ping ponged percussion, fading slowly into watery timber creaks of oars and rumbling weather. Chord recyclings follow chased by cymbal flares, finally bowing out on the self same arpeggio(ed) dazzle of dancing fingers that started the track. Fractal Skulls continues the vibe with an ambient sun stroked horizon entitled 'Endless 23'... A loose glitter haze, full of spiral lit curls and sequenced zest. Overlays of drifting melodica on 'Reserve Army of Labour' pursuing in gentle repeater candies and polyrhythmic milks. Mellow dew that's well worth your attention..." - Rotten Meats
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http://charcoal.serein.co.uk/
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As you can see in my profile I started some years ago with experimental music mostly musique concrete based. After my first 7inch I was only working under my real name and laid my moniker Audio Architecture to rest. Today I run a small private label with a serie of split recordings on 7inch vinyl with individual artwork by each participating musician. I normally do not offer downloads as I'm a truly vinyl fetishist but these bits are all works on the previous version of my label as I was releasing selfmade CDR copies only. After cleaning out archives and data carriers I found some early stuff I would like to share with the interested. My first album "3 Skizzen" (3 sketches) was re-edited and remastered by myself in 2011 to fit in my vision of a perfect re-issue. The work with Giovanni Di Stefano was first planned as a CD but time rushed over this so it is only available on this digital format. There are also some exclusiv goodies and right after my join to WATTM I decided to give them away for free (except the picture disc ) Feel free to listen to it and save it when you like it. so here you go: http://mmlabel.bandcamp.com/
