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I was thinking of opening a piece with Shepard tones. Now that you've done it, I'll have to find something else to do :--)
Those metal-plate hits are just right. Did you synth those or work from samples?
@DjTrickin: Wow, thanks, man.
@davephillips69: The Sedge Warbler is the only dry sound in the bunch, with varying types of reverb effects on the others. This makes integrating into a single composition a bigger challenge, I'd think (I've never built up a production in this manner, but several times I came close to harvesting some Freesound(s) for this or that project).
...speaking about Ardour and Freesound :--) It'd be fun to see which Freesound samples you used.
Jack Wright now on Soundcloud. Yippee!
@moody alien: Yes, Monk. Seems Eliot has also spent a time or two with Bill Evans (esp. "Questions of February").
@davephillips69: Not here -- it's 22-F and snowing. Nice of you to stop by, Dave!
Lower jaw is dropping. Fast. (and Avreeayl Ra, one of my favourite Chicago-based drummers!)
@AvantGuy: BTW, Ben, please also keep me in mind re. that maxware as well!
@Ben Carey: Jaap's signature vocal style is not here on SC. It seems he's reserved this place for Jaap-the-composer as opposed to Jaap-the-extended-vocal-technique-improviser
@AvantGuy: ...Gary is new to me, and, wow, that cat can play!
Did I ever tell you how much I think of Tatsuya? Well then, lemme go find some superlatives...
What a delicious opening gesture.
:--)
"...and live computer." Whenever I hear a piece with live computer (whether interactive or not, but especially the former) that also has persistent musicality and gestures that seem to mean something (i.e., are organic) , I am greatly impressed. I'd like to know more about the system and the software, and how it's controlled/influenced in realtime.
"It illustrates the different stages of transformation of an half-vegetal half-animal organism, the Ascidiacea. Starting from a completely primitive state..." The music definitely evokes a sense of traveling through vast expanses of time where things emerge and become ever more complex. Terrific piece!
I'm a sucker for endings, *real* endings.
If a tape piece can be called "Mahlerian", this is it.
By chance, might the score, or excerpts thereof, be available on the 'net? I feel a mix of fully-notated and aleatory. ...and what a fantastic ending.
That modulation / stuttering of the voice is one of my favourite gestures. What a great way to end this piece.
Are you the reader? It sounds a bit like the voice I heard in those blues :--)
I'm reading Briggflatts right now.
Every one of your _derivations tracks interests me. This one leads me to speculate how things would go with it in the hands of Jaap Blonk. Great work!
Never before heard Brax over this kind of noise-grunge. Killer.
@AvantGuy: Sorry, I meant VII :)
Did you have the Berio Sequenza IIV in mind, perchance? I would think this is monumentally difficult.
@Mike Leghorn: :) Would I lie to you?
@Mikans: I don't know Vangelis' work (I've seen the name many times), but I want to assume this is a compliment. Cheers.
Accordion in role of percussion. I'm not sure I've ever heard it done this way.
I second what Ben Carey wrote and would also add that Michael's sounds are delightful. This is a very sharp duo.
The final minute is delicate and gorgeous beyond my capacity to describe it.
Beautiful swelling here. Hey Chris, it's great to see you here on SC.
You sound very fine in the great hall!
Already, I like your attitude.
It seems Mathieu is using a very interesting prepared cymbal. I like this.
At around 6:30, I began wondering if you were going to nail an ending. I'd say you got the final exclamation point just right :--)
@Vitaliy Rybakin: It's my first-ever foray into pop music. Glad you like it.
@Sleeping On Lotus Ashes: Experiments!? I'd already perfected granulation before doing this one. (just joking:)
In its own way, this is as gripping as the original Varèse. Striking sound designs.