I made initiative sound project to response archive materials (public domain) about Nusantara.

First edition, ‘Soundtrack for Java landscape (1890-1920)’ :

All sound of this, I made with Javanese gamelan, modular synth use pelog/slendro scale, and field recordings.

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Today’s ambient jam, fairly emotional)

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Structured improvisations on eurorack modular synthesizers by Acheface and me. Performed and recorded deep down in a Cold War bunker. Mix by P. Altena. Out now on BandCamp and coming to all other platforms November 16.

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Shared System by the Lake …

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Really beautiful…recommend to all

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I have just published a bandcamp page for the OST of Crypt Climber. Come in a leave a comment!

And here are a few download codes for you:

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I gave myself a little Max/Jitter project to do an interpretation of Phill Niblock’s 3 to 7 - 196. It’s just 8 sine waves and then bounced to tape before bringing back into the daw for a little compression.

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Generative beats with Mutable instruments Plaits, Rings, and TR-909 drum sounds. Live recordings and no overdub.

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Coming out of a rut. Relaxing. Being still.

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What is Modular Techno? Is it different than “normal” Techno? Does it have some special qualities and quirks that we can take advantage to create something unique? What do you think? I’d love to hear your ideas and approach. Also send me your patch ideas in the comments! I will check each one of them and comment back. I’ve made this video to talk about my ideas and approach, going through a simple, quite minimal techno patch.

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I really struggled to name or describe this track. What do you think?

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Once upon a braids

3 uBraids sequenced by the teletype

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Hi everyone! I’ve got a new album being released on December 4th and the pre-orders just gone live on my Bandcamp page. The album is called Mote Music and you can stream the pre-release track, “Apophenia” via Bandcamp and Soundcloud.

Liner notes / background on the album:

You don’t have to be a poet to be prone to ‘apophenia’, seeking meaningful patterns in the scattered, senseless data of the everyday. In a certain mood, the Earth itself can seem like a ouija board, calling out its advice, discarding symbol and after symbol, relentless and malevolent, though to ordinary eyes nothing more has happened than a single black and white bird winging down the sky.

  • Olivia Laing, To The River

Mote Music is an album of impressions. The compositions are deeply personal reflections that the listener is invited to bring their own unique interpretation to.

Apophenia, when applied to the realm of listening, renders sound amorphous and evades categorisation affixed to particular objects, actions or spaces. Unless the sounds are readily identifiable - such as the cascade of water, a rumble of an engine, twitter of birds, murmur of a crowd - the listener is presented with an impression of an environment in which they are invited to make connections, find meaning and construct their own world.

The track titles originate from personal encounters with sound and place. Like the compositions, they provide an indefinite starting point for the listener: “Place Is Always Moving”, “Galaxias”, “Apophenia”, “Why Blue?”, “Clearing A Path”, “Yugen”, “Sky Country” and “Impermanent Year”.

Although sounds of water, birdsong, human voices and technology feature across the compositions, they have been arranged, layered and harmonised with each other, in such a manner so as to obscure their original form. In this respect, the album is presented as a tableau of trace marks, artefacts and residues.

As the listener, perhaps you may experience this album through the small speakers of a laptop or a phone; a pair of headphones; through a portable speaker in the kitchen or shower; in a car; or on a hi-fi system in a living room. All of these and other modes of reception and listening are encouraged to appreciate this album, with perhaps the sole recommendation that you listen at a relatively quiet volume to permit the surrounding ambience of your environment to interplay, weave and swirl around Mote Music.

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love this, what’s involved in the making?

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Thanks @karst — this was recorded in one shot during a leisurely cheat codes session. I played an instance of Ableton’s Operator into bank A (which was set to chop and randomly delay the incoming audio), and banks B and C were playing/mangling samples (one is a granularized Just Friends sequence, the other is a field recording of a crank on my typewriter that’s used for the clicky percussive bits you hear in the finished track).

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posted something new yesterday. norns (mangl and otis) and plumbutter mostly :slight_smile:

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New session from the BURG studio :sunny:

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Beat displacement in 7/4, sequenced from teletype (and hermod for long melody). full patch notes in description on youtube (as usual)…

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