Sabrina Siegel improvised compositions of piano, voice, rocks, moroccan tray.

Cover art by sabrina siegel “Nature’s Recomposition 0013″.

Sabrina Siegel, is an american free improviser/composer and visual artist. She explores creation/self/relationship through an awareness of the role of Nature/Chance in the creation of works where Nature is employed (i.e.playing guitar with rocks) to compromise her compositional control,
She explores improvised composition exclusively, through guitar, voice and other instruments.

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La pieza fue concebida como una improvisación que utiliza feedback análogo como fuente única de sonido a través de una cadena de efectos y procesada digitalmente para obtener cierto control sobre las transiciones y textura del feedback.

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This second opus of the series ” les rÍveries d’un promeneur solitaire ” is the result of the interaction between the nature ambient sounds and free improvisation on prepared bass.

The project was recorded in the French Alps on August 7th, 2011 & mixed at the Bermie studio, Aspremont, in February 2012.
Happy listening.

musician: André D. (bass & tools)

Photo/artwork: André D.

1.Orage 12:32

link:

http://dariusimprovise.blogspot.com

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Concert registered in January 2012 by 2l2code
sound engineers
Ernesto Santana and Alvaro Muñoz

Merran Laginestra : voice, piano, computer
Pedro López: drums, invented instruments, computer

Image from the film “Stalker” by A. Tarkovsky

The originals files are in quadraphonic format. The mp3 stereo is only a  version for evaluation.

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Our task consists in creating “fictions”, that is to say, re-organizing the relationships between what one does and what one can do. Possible alternatives to what has come to be known as the dominant fiction, that now seems to reclaim the condition of the definitive fiction.

We are looking for a language free from all expression, rhythm, melody and harmony. As in all dictatorships, the arta are usually used to contol the emotions of the population, we have decided to free artistic manifestations of any type of emotion.We have transcended the physical reality of emotion and sentimentality to create a simplified,virtual relationship in a digital experience.

What is more expressive? White noise,C flat, a pneumatic drill or a supermarket till?

The contents of this concert have been tried and demonstrated to fulfil the limits established for digital devices in Class B,in conformity with Paragraph 15 from the Standard AFCJZ.
These limits have been designed to proportion a reasonable protection against harmful interferences in a residential installation.

The mediasphere and the forces of order propogate and install, without difficulty and with the general consent of the populace, the definitive fiction,in every aspect of our existence, homogenizing our aspirations,dreams and necessities.

This performance generates,uses and may radiate radioactive energy,if it is not installed and used according to the instructions,and it may cause harmful interference when comunicating through radio.However, there is no guarentee that the interferences are not produced in a particular installation.

At the present moment the semantic mechanisms of control are being reinforced.

The meaning of the word “Art” has reached such extensive levels of ambiguity equal to words such as “Freedom” or “Love” that allow the Powers-that-be to use them in function to whichever purpose they so choose. And so they can become instruments that serve us to strengthen the paradigm of property, family, egoism or uncontrolled ambition.

What used be to called “seeds” will now be called “Monsanto”
What used to be called “health”, will now be called “pharmacy”
What used to be called “soma” will now be called “Prozac”.

Goethe said: ” No one is more of a slave than he who thinks himself free without being so”

Description: Synthscape it’s owned on a series of semi-improvisations made on the Roland JP-8080 synthesizer, dealing with different kinds of echo signals and stereo pannings and trying to play as much as possible with spatialization of stereo.

Synthscape (Paisaje sintetizado) pertenece a una serie de semi-improvisaciones en el sintetizador Roland JP-8080, tratando la señal con diferentes tipos de ecos y paneos de estereo e intentando jugar lo máximo con la espacialización del estéreo

Jorge Marredo: sintetizador y efectos

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All national anthems of the planet, including from countries that doesn’t exists anymore (russian empire, german nazi, astrohungarian empire, checoslovaquia, etc) and pro independence countries like North Ireland or Scotland. All mixed reverted in this almost 20 minutes song.

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Hans Tammen: endangered guitar, electronics
Karlheinz Essl: m@ze°2, kalimba

On May 7th 2010, Austrian composer Karlheinz Essl and New York-based guitarist Hans Tammen met for a recording session at Harvestworks in New York City. Without any preparation or prior consultation, both musicians created this music in the spirit of free improvisation, connecting themselves in order to form a higher unit out of their individual sounds.

KARLHEINZ ESSL – http://www.essl.at/

Karlheinz Essl was born 1960 in Vienna. Austrian composer, improviser and performer. He studied composition with Friedrich Cerha and musicology in Vienna (doctorate 1989 with a thesis on Anton Webern).
As a double bassist, he played in chamber and jazz ensembles. Besides writing experimental music and composing electronic music, he performs on his own electronic instrument m@ze°2, develops software environments for computer-aided composition and creates generative sound and video environments – often in collaboration with artists from other fields. Essl erved as composer-in-residence at the Darmstadt Summer Courses (1990-94) and completed a commission for IRCAM. In 1997, he was presented at the Salzburg Festival with portrait concerts and sound installations. Since 1994, Karlheinz Essl curates experimental music concerts and sound installations at the Essl museum in Klosterneuburg. Between 1995-2006 he was teaching “Algorithmic Composition” at the Anton Bruckner University in
Linz. Since 2007 he is professor of composition for electro-acoustic and experimental music at the University of Music and Performing Arts in Vienna

Beyond his work as a composer of experimental music, Karlheinz Essl has developed his own electronic instrument called m@ze°2, which is based on a computer program written in Max/MSP. Since 1998 he has been using his realtime composition environment predominantly for free improvised music. He has performed with the crème de la crème of avantgarde music. With his instrument Essl can interact spontaneously to any kind of sound environment or music utilizing a variety of external controllers and a video camera in order to shape the musical output.

HANS TAMMEN – http://www.tammen.org

Hans Tammen creates sounds that have been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He produces rapid-fire juxtapositions of radically contrastive and fascinating noises, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible sounds – through means of his Endangered Guitar and interactive software programming, by working with the room itself, and, as a critic observed, with his “…fingers stuck in a high voltage outlet”. Signal To Noise called his works “…a killer tour de force of post-everything guitar damage”, All Music Guide recommended him: “…clearly one of the best experimental guitarists to come forward during the 1990s.”

His numerous projects include site-specific performances and collaborative efforts with dance, light, video, and theatre, utilizing technology from planetarium projectors to guitar robots and disklavier pianos. He received a Fellowship from the New York Foundation of the Arts (NYFA) in the category Digital/Electronic Arts in 2009 for the ”Endangered Guitar” – a hybrid guitar/software instrument used
to control interactive live sound processing. His works have been presented on festivals in the US, Canada, Mexico, Russia, India and all over Europe. He recorded on labels such as Innova, ESP-DISK, Nur/Nicht/Nur, Creative Sources, Leo Records, Potlatch, Cadence, and Hybrid.

Liner Notes by Ken Waxmann

As sophisticated sound experimenters become more comfortable with the variety of expressions that can be extracted from computer-based electronics, high-quality sessions like MentalMess are the result.
These eight tracks, recorded in one afternoon at Manhattan’s Harvestworks centre for evolving technologies, are completely improvised using the sonic sources engendered by New York resident
Hans Tammen’s self-defined endangered guitar plus Vienna-based composer Karlheinz Essl’s m@ze°2 Max/MSP software instrument. More intrinsically, the key to creating stimulating sounds like these isn’t what theories are proven or which electronic gizmos are attached. It’s how profound, inventive and thought-provoking the end product is. In this case Tammen and Essl, who jokingly titled the session with a contradiction of their names rather than a definition of their emotional state, generate dazzling interactions.

A track such as “Prelock” for instance, begins with what could be effervescent spurts and watery drips resulting from bottle opening, with the tones then pulling back to reveal reed-like snorts and tongue stop-replications plus purported cymbal slaps and keyboard pressure. Crackling static presages what could be an abrasive thunderstorm which oscillates, judders and finally fades. Meantime, while “Friggle” mixes an approximation of downwards slithers of a toy slinky with guitar strums, mouse-like squeaks and half-heard melodies, “Kalister” is more percussive and less playful. Harsh twangs from electric kalimba cut through the blurry interface to isolate string snaps and vibraphone-like resonations. Another highpoint is “Nomisola”, built around staccato drones, as snatches of piano, double bass and even full orchestra samples intermittently reverberate. Until the finale, blustery synthesis intercuts between instrument replications and nearly impenetrable grinds.

Both improvisers create while using software programs that sample while processing, with the sample themselves often manipulated as well.

Tammen’s endangered guitar is an interactive hybrid between guitar and computer that processes in real time as sounds are created, with added control sources a proximity sensor and an iPhone’s accelerometer data. For his part, Essl’s m@ze°2 uses a keyboard, a mouse, several MIDI controllers and a webcam to pan, harmonize, pitch-shift and transpose samples from a database, mixing them with
what he and Tammen create in real time. Omnipresent is an ostinato of glitches, static and clicks.

As this session evolved, it gradually dawned on the players that the interaction was breeching further sonic definitions. Essl’s electronically created samples for instance seem to derive from so-called real instrumental tones, while Tammen’s guitar intonation has an unmistakably electronic feel. The Austrian, who often speaks of “the magic of the moment”, appears comfortable, conscious of references, yet negotiating a method of real-time playing.

It’s the same for German-born Tammen. Conceptually he has concerns about defining improvisation. He’s discomforted by players who say they’re creating original sounds when merely recreating so-called improvisations they’re played before. At the same time he distrusts arbitrary playing which gives the improviser too many choices. “The more experienced you become in your playing, the more you conclude that there are really only one, or at most two, perfect choices for any given musical situation,” he declares.

That’s what happens with MentalMess and why so many fruitful inventions are exposed here. Although in the past both Tammen and Essl have collaborated on an irregular basis, with this session they’ve achieved matchless technical and sonic unity.

Ken Waxman
Toronto, December 2011

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Oppekt is a acousmatic work composed in 2011 and presented at Salle Claude-Champagne. This work also been selected to Musica Viva “Miniatures” (Portugal). The voice is made from onomatopoeia, exept for the last line of the work.

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1. peace – dark – break – drowsiness – release
2. noise – unknown – dissonance – space – torture – misunderstanding – ignorance
3. strength – character – tack – ambition – passage – wish – suction
4. anxiety – tension – extension – discomfort – discomfort – annoyance
5. time – resolution – vigilance – determination

- Awakening -

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experimental made throgh sample manipulation

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‘Anxiety’ – piano, olympus ls10 micraphone and ‘creative’
pc speakers.

‘Sleepless sonography’ – tenor saxophone and radiotechnika speakers’
feedback.

‘Attack’ – piano, olympus ls10 micraphone and aluminium foil.

‘To flame the light of love’ – tenor saxophone and noiser 1.0.

‘Decay’ – piano, olympus ls10 microphone and glass.

to flame – cut up a skin cross out the promise disorderly untouch her neck – tear a hole through her belly-button
burn the sheets unwrite the decision – watch her fall on her knees abandon the garden start a fire – the light – exact differentiation of their encounter vectors the line uncurved like her words – say yes divide the dark raised by infinite degree count precisely where she’ll land make a perfect morning coffee true to the axiom of your choice – of love – feeling how her vulva bone bites through his skin bending the resistant left-overs of selfhood unbinding the sacred oath of their names – how his hands penetrate beyond the skin, the fat and the muscles closer to her empty insides almost till the bleeding atom of her womb – looking at the eyes surrendering while the glory of the last moment unearths their remnants – breathlessly pulsing scattering all into the vast vortex of their mutual unbeing wherein it is still heard what she said – the obscure name of the slashed O – all to his delight she was no more he outlived her called back into the black silence of her mouth

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