Résonance #8 [nt026]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

This is a rather nice recording of two sets, both performed in the Showroom café bar, as a series of solo gigs i did in support of a jazz/experimental night i was running in the cinema bar.

A direct recording from the desk, this recording has a really detailed, intimate quality. Electronic beats meet cut up field recordings in a surreal crash between sound worlds. Nothing is prepared in advance. The sets are woven together and improvised moment to moment. You can hear as i call up samples, loop a selection on the fly, apply effects or processing and match the beats. I like that DIY quality of experimental dance music done à-la-improv with EA flavouring and field-rec gallore. These sets are the best of both worlds, improvised to an audience of passing cinema viewers who had no idea what hit them. Great times. And of course, the omnipresent drones are sculpted for your ears (and guts), vibrating the hell out of your chakras, with five elements delicious resonant frequencies. What’s not to like.

Résonance #7 [nt025]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

And for something different, here are two sets performed on the same night, in the Showroom café bar.
I was running a night of jazz, improvisation and experimental music, and during that time, provided support for the groups by doing solo laptop sets. It was an opportunity for me to continue developing my sound, and try out my approach to electroacoustic improvisation in different contexts. The café is a busy and noisy place, so I adapted my sound and abstract narratives adding electronic elements and beats.

Field recordings and electronics slyly seep in the dense noise and chatter, and gradually take over as the set intensifies. Deep bass rumbles and beats. Accidental noises and voices become part of the soundscape. Things escalate. Beats overlap. A glimmer of light. Well, you’ll just have to listen. It’s a trip.

 

 

 

 

 

 

 

 

 

 

 

 

Résonance #6 [nt024]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

These three live recordings from 2011 are good examples of how the work has evolved, gradually moving towards a minimal and meditative approach to electroacoustic performances.
We take the time to delve into the mood and narrative sequences offered by field recordings. Atmos tracks and resonant spaces frame environments where the five elements unfold and balance. Aspects of the previous series are carried over with sine tones that blend and interact with the resonant frequencies of natural sounds.

The recording process is also different, and works as a meditation in itself. And so the material recorded becomes more subtle, focusing on details that will blend into multiple layers in performance. Increasingly, it becomes obvious that the accidental convergence of sounds from different recordings occurs in a natural way – the music makes itself. This highlights the importance of using sounds that no agency other than nature itself created.
The world is sound, and all is music. I just let my meditations direct the microphones, in true art of the dérive, and let the moment inspire the sounds that are dealt in performance. How the layers communicate is magic.

 

 

 

 

 

 

 

 

 

 

 

Résonance #5 [nt023]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

Three live recordings performed close to each other, as a series that uses as a starting point a very simple set of sounds. And yet, each performance is quite different from the others in feel and narrative. Both are inspired by the environment.

Sound phenomena, using interference patterns and beat frequencies, occupy an illusory space, other than recorded sounds. Field recordings take a step back and leave at the front the interaction of sine waves in sets that also related to the resonant frequencies of the field recordings.

From conditions arise new experiences. Ghost tones appear and disappear, only created by interactions at work in the sonic world that unfolds within your ears.

Those room recordings are a little noisy at times, but it gives a sense of the place each piece was set against.