Latest tracks + videos



Ah, so THIS is where I am allowed, even expected, to toot my own horn. Perfect. :slight_smile:

My website at is worth exploring… at least I think so. You’ll find links to my catalog of releases that now stretches back nearly 30 years (God I’m old), including a fair bit of really nice stuff that is available for free on various netlabels and at The Internet Archive.

That being said, I am promoting my latest two releases a bit more heavily: fade by metlay!, which is available for sale at Aural Films on Bandcamp, and A World Beneath The World by Zen Rat, which is available for “whatever you’d like to donate including nothing” at earthMANTRA on Bandcamp.

Thanks for offering so many fantastic links to so much fantastic music. What a wonderful community!


Sketch for single coil pickup electric guitar, monophonic pitch tracking sine wave oscillator, three randomly reversible audio buffers, distortion and reverb.

Rehearsal for an upcoming performance on Saturday 11 March as part of Ääniaalto '17 at Vapaan Taiteen Tila in Helsinki.


Music by moi.


Final release in the FF7 drone/ambient/plunderphonics trilogy, where FF7 samples come out to make dark ambient soundscapes. If you remember the old soundtrack you might feel out some of the tones and recognize some of the elements.

Free forever, along with the other two releases as well (somewhere else on the BC).


New track on this mega compilation from Phinery


Finally boarded the inspiration express.

2017 here we go.


Jazz, Gravity, Glitter… [Released 3-10-17 on Bandcamp and also Soundcloud]

  1. Just Piano and some Drums/Percussion.
    I am so stoked about this site. Have been looking through it several hours. So many neat topics. In order for people to get the best idea about who I am, sometimes putting up music is the best “hello.” I cannot currently play the tracks, but am going to get some shuteye and have this page ready to return to. My headphone padding came off, and the white noise machine that normally carries me off to sleep is on a stronger setting, so I fear I’ll wake up others in the house! Blah blah… anyhow, there certainly is a lot to be gained by first listening to others’ tracks, and in absence of this, I’ll just show people the best I can that I am quite open-minded!

For a less-recent-but-still-recent more vast groupings of sounds that are not improvisations on the same instruments using tonally quite a few of the same groupings interwoven in variations using percussion technique (rudiments, playing styles - i.e.), I’d like to give an overview of some of the more balanced approaches I try using, meaning there is quite a bit of overlap between performing and then editing the sounds, introducing wave-form editing, using a variety of formulas to re-generate the material and then track over it, then re-organize, and then, to end this painfully long description, let synesthesia in various forms to come to my rescue to tie everything together, along with sometimes a few nights a month of sleep deprivation. . . umm… my approach is essentially learning about my approaches, and then approaching them. So,
2. Marginalia

I look forward to the daytime hours and days to come to check out releases in a nice centralized location. Hopefully, the introductory material proves to be interesting enough to where you will know that I have a pretty wide foundation, and hope to provide some insight here and on other threads. Nice to meet everyone…well, or, at least break the ice. Thanks for providing an outlet to get word of releases by peers and be able to get word out to other creative musicians, listeners (creative listeners are still musicians to me, even if one has never taken up active music-making! They’ve still got musical empathy) when there’s something that I’ve finally–likely after a lot of stress/happiness/nervousness/everything-ness–put out as a collection. Peace! -Linus


(If I perhaps have posted these on the wrong thread, I’ll fix it. I possibly have chosen the wrong one to post new work. But, I will be helpful, very soon! I’ll help in my own special way to keep things interesting and constructive. Likely I’ve made a mistake. This always happens. I’ll look for a work that is not by me to review if that’s what this is. Time to sleep and ponder the beauty that often results from mistakes)


Lullaby for Ferns.

Just received my new Teletype from @myecholalia and I can safely say that I’m in love. Combined with MeadowPhysics it is the perfect musical godhead (the user, the meadow, the tele.)

I’m running through Teletype Studies at the moment, but every time I learn something new, I have a new idea and have to go type it up. It also has me printing out grids of numbers and using something similar to the Nashville System, working out the correct N values for certain scales and typing/programing them all into a Pattern. It is a whole new way of working with music, something that feels sensible and natural, rather than arbitrary and coercive.

This piece is based on a melodic minor scale, not sure what root since I tuned each oscillator together by ear. Three scripts, one to the Piston Honda, another to Tides (Sheep) and the last is a TR.TOG that flips Freeze on Clouds, on or off.

Meadowphysics 1 >
CV 1 N P RRAND 0 20

Meadowphysics 2 >
CV 2 N P RRAND 0 12

Meadowphysics 4 >


working with orchestral organization/practicing a song I forgot about for a couple years now.

I’m just going to put everything here, whether i feel they’re decent or not.

Practicing movement, my mind was too static, stuck usually to a four chord progression. Pure improvisation.
They need a sense of adventure. I need to relax haha I was an idiot and decided to sit on a glass end table thing. The timing was perfect though, it felt as though it waited for the last note! How kind.

Let it be know that I have no formal training. Just an avid “noodler” that comes up with some neat stuff on occasion.

As a reclusive, sheltered soul in a non-musical family I never really get much feedback.


Both really beautiful dude, if you ever write the score for the second, make sure to include breaking a glass table at the end.


Hahaha that was so cool. Couldn’t have planned that if I tried.


improv with grainstorm, grid and arc, 3 samples


Triple Con
(4 sketches (A-D) for modular synthesizer and gypsum coffins.)

Section C including a recitation of a poem by Alexander Blok.


A hoary dusk, the day adjourned.
Spring and a city pallid.
Hoots from a passing motor horn
Triumphed and dallied.

Look through the pallid window pane,
The glass reflecting glances.
Your self-betrayal. The old bane.
No second chances

All sounds and video by the Labor Camp Orchestra.
Juggling: Thomas Gaasedelen
Text reading: Vadim Gershman


Composition on the spot! Training not required :slight_smile: I like that you’re mixing tonality. It’s expressive. One really fun trick, if you are looking for something to add some extra weight in certain parts, is to use your thumb to cover more than one note. You’ll be able to play mad clusters all over the place! Keep at it.
[Comment Update]
To clarify a bit more, be sure to try it out with both hands. I said “thumb” when I should have made it plural. It can be liberating, because when, say, an F & G, or just any 2 notes next to one another, are being struck by the thumb, it sounds chord-y enough often with just 2 notes. You could be holding down something and have the other 4 fingers doing any number of combinations to give a passage, piece, or even just a couple repeated groupings, and be playing all kinds of colorings (excluding normally the 2 notes covered by a thumb…I think even 3 notes at a time is very possible, if you work in part of your palm. I’m not joking! It is a noodling experiment. It’s just kind of strange to read the process back to myself at the moment. The exception is that you could always cross hands, as well, and hold those notes down with the other hand while your more dominant hand–unless you’re about even with both on piano, as I did notice that you were quite balanced on both sides in many instances…then maybe this won’t apply–but, if you use your more dominant hand for a particular kind of movement on the piano that you’d really like to emphasize, doing a crossover could be very useful. I went off-topic regarding using thumbs or palms to hold down several notes at once in order to free up the other 4 fingers to add layers/parts into passages).
I’m very much wishing I just had a video to show how I wish to respond, but am not organized enough to do in depth via typing. You’re really a natural when it comes to understanding how to work in variation. So, you think like a composer. Until I can finally make a video on this and hope no one on youtube really minds it much attention because I don’t want to be laughed at for awkwardness in speaking through things and/or how weird my technique would look. But, basically, if there were something less specific to completely focus on (the thumbs/palms technique probably will take a lot of time to feel at ease with! I thought I’d catch on to it right away, but changing one’s body control is required, and certain muscles (I think, at least!) seem to become necessary to develop. But, if you figure out efficient ways to maneuver right off the bat, that would not be surprising, because of everyone having different processes. However, should there be some awkwardness, try maybe not thinking about any specific keys, and, instead, choose different regions on the piano, and just kind of switch around. It can make a colorful fill in between melodic lines, too! If you take your fingertips and put them on the top keys/accidentals keys, and then slide down to the bottom row of notes, you could play 2 sets of fast note cluster movement really fast for each hand by alternating hand and doing a slide from the top row of keys to the bottom row in pretty much one motion, like you’re swiping some dust off of something, pulling your hands in your direction, doing so with one hand and then mirroring it with the other in whichever region of the piano you choose for color or any other reasons like weight, texture, frequency combinations that you like, etc… do one swipe one hand, then another with the other, and then try doing the technique for a more prolonged amount of time. It’s kind of like painting the paino.
Actually, I just got an idea to use paint brushes on my keyboad! Or, it’s a digital practice piano. It has decent weighting of the keys, but getting near real pianos is always great. But, like you describe yourself, I also do spend a lot of time away from very public settings, though our reasons may be different. I think that sensory overload is the top reason I find myself the most comfortable staying in. I miss working things out with people, but I have found a friend who uses processes when he plays that I appreciate and can identify with, and he’s also a good friend, and so I have tried to stay on a routine of playing every Tuesday–as a goal. Things happen, but it is still the default day. I had to move to today because yesterday, I just couldn’t get up the energy to go improvise due to a somewhat disturbed sleep routine, so we switched to today. It’s been helpful, although I have sometimes gone 2 months without having played music with him, and sometimes up to 3 or 4 weeks without interaction. It’s just tough. Anyhow, improvisation can sure be helpful in breaking up time and getting to use your mind and figure out music strategies. So, it is pretty fun to wander the piano. I think that you can improve a great deal because you are a musical self-taught player, or, the majority self-taught. I’m sure that you’ve learned through osmosis, as well, which actually is training, in a way! Just a different one. Keep doing what you’re doing, but maybe start taking more risks! My suggestions are just 2 or 3 of a whole bunch of things you could try.
If you think it would help, perhaps “active listening”, where you could even record yourself doing so – meaning, you interact with other sources and play parts over them, and listen to the result. If you are a visually-oriented person, another good prompt would be to look at something. Anything, really. But, a music visualizer on a player of some sort, or maybe a screen saver, you could play to that motion and just respond viscerally and even without any strict parameters in terms of caring about the notes and/or their relation to each other. Practicing different expressive movements without even caring a lick about the notes can be absolutely a great way to teach yourself to be confident in playing the entire range of the instrument! Have fun!! I think you are, and that is why you’ve posted these. The more varieties of ways you can get yourself to play piano, to prompt yourself to improvise, the more you’ll notice you are improving all the time. Take care! Oh, and, if you learn some snare drum sticking patterns and can tap them out, they’re great to use on piano if you want to get some more accents into your patterns. Okay, sorry to keep this way too long. But, I’m not sorry about responding…just about the possible eyestrain from reading through this. I hope that does not happen, though! When someone asks for advice, I sometimes pause if it is something that I actually could have ideas for, and then I don’t answer, because long-winded answers are the norm. But, I’m inspired by and fascinated by improvisation and the endless stacks and piles of processes that are involved, including how the senses can be involved, and I just can’t help but talk about how much I like to think about improvisation. If I think of anything more specific, I shall update this. Anyhow, I think the inventiveness is there, for you, so the best thing is to find ways to make sure that you can try to play as often as possible, including through creative slumps or walls in terms of something more on the technical side–or, both of those things, which is never fun when it’s a double-slump! But, just generate ideas that will make you play, because then, by self-designing these things, you can try and work the improvisation into processes outside of playing, itself. Such as…read text, and play the text on the instrument. I think Coltrane looked at a passage of text for A Love Supreme, although I am not entirely sure I’m remembering the correct recording. Have fun, Ardoire! Take care, too. Part of my strong response was the reclusive part, and the fact that most of my family, although they’re supportive and appreciative, isn’t one with musicians. However, my cousin’s son actually has a really great sound and he’s a baby, so there may be her husband’s (a musician) influence. I’d talk with him about it, except they live far away and he’s busy with a demanding job. He’s self-taught and talented, too. Actually, he’s technically family. But, no immediate nearby family to discuss music with too much because I tend to confuse them, and I don’t want them to feel bad that they don’t understand.
See, your videos prompted all of this! Life is too intense, even communicating online is. So, I just tend to feel better by spending a decent amount of time making sure there isn’t any stress. Unfortunately, I’m not close to nailing the whole concept of inspiring myself to play that I was trying to suggest for you to consider expanding if you hadn’t been, already. When I’m stressed, I cannot be near an instrument!! So, I have spent a lot of time just jotting down ideas for the next time I improvise. Am probably at about 3 or 4 times a week of extended playing, so not every day as I’d ultimately prefer. But, I am trying to do little tiny mixed media art on little paper squares, and have been trying to inspire music with one/or, vice-verse–inspire art with the other. All depending.


…Thank you so much for taking the time to write that reply. Really motivating. I agree, I do need to increase the sense of “space” via separation and literal space between the notes (utilizing the entire keyboard). I actually talked to a friend of mine and he said i could go down to his theatre on the off days and practice on his steinway baby grand! I think being in that space and using such a beautiful instrument might help me break that barrier of being/sounding narrow. Being confined in a small environment might have translated to a more constricted sound. i also agree with the snare practice tip, as a string guy there is a natural inclination to sync both hands, just a bad habit i need to break. Both of those suggestions together should undoubtedly enhance the variation and “depth of the journey” as of which I like to inspire with my pieces.
As for the stress I’m there with you. Constantly overwhelmed by multiple self spawning interests and endeavours it can be stunting and result in just sitting around and reading a book or something (which is all well and good in it’s own right), but at the end of the day when I look back i feel as though the book is going to be the same tomorrow, but what I could’ve learned or created that day may have been able to grow…If only it had the chance to come into existence.
I really appreciate your words, gives me the motivation I needed to substantialize puting way more time into it. Having lost more than a few works due to what were felt to be deemed “lost causes”, building a repetoire should have been a major focus. I have no regrets concerning the subject, if they were meant to be they will come back. That’s the way of the world. You get what you give.


new solo release on squiggle dot


My first album! Without this generous and inspiring community, I could never have finished it. Thank you, all.


Very nice! It sounds great, and getting an album done is a big accomplishment.


congrats with your first album!! i’m listening now, sounds great!
can you tell us a bit about your process?