audiobulb: Recent Episodes
Audiobulb
Audiobulb Records is an exploratory music label designed to promote creativity in all its forms. Audiobulb releases artist works on CD & download formats as well as multimedia works, VST (virtual instruments), audio hardware and other creative tools. We embrace the complexity of unique electronics, intricate acoustics and detailed microsound. Home of 'Endless Endless', 'Root of Sign' and the AMBIENT and Lissajous sound modules.
Darkness Is Just Darkness is a collaborative album by Euan Alexander Millar-McMeeken and cellist Henrik Meierkord, presenting a stripped-back convergence of ambient music and spoken word. Intimate and unembellished, the record unfolds at a measured pace, allowing texture, silence, and language to carry equal weight.
Distant Fires Burning and Autistici return to Scalar not as a fixed object, but as a signal sentoutward—refracted, reshaped, and reassembled by a cast of artists operating at the edges of ambient,electronic, and IDM practice. What emerges is less a conventional remix package than a set oftransmissions: six alternate states of the same source, each one pulling the track deeper into new zones of motion, pressure, texture, and atmosphere.Across these versions, Scalar becomes fluid. Kingbastard pushes it into heavier, more physicalterrain; Ficture teases out detail and fracture; Slowly On The Way – He Can Jog bends time andcreates an abstract listening space; Reverend Basstorius folds the track through a warped 90smemory; Ümlaut Vector sharpens it into futuristic geometry; and Pulse Mandala channels its pulse into hypnotic, unfolding momentum. Together, the remixes trace a wide arc through bass weight, digital grain, melodic drift, and rhythmic dislocation.At its core, this is electronic music as transformation: bass-driven, exploratory, and alive with tension.These are versions built for deep listening and physical immersion alike—tracks that move throughshadow, circuitry, and pressure with a sense of curiosity and intent.
The city’s fragments repeat, overlap and resonate — a quietly grooving electronic landscape built only from field samples.Repeating Town is made entirely from field recordings captured in and around Koenji, Tokyo — traffic signals, footsteps, air conditioners, construction, passing cars, fragments of conversation. These are treated not as documentation but as sampling material: cut, repeated, layered and recomposed through a post-club editing sensibility. All eight tracks are built around 96 BPM, connecting the album back to Territory as a continuous listening. What matters here is not the use of non-instrumental sound in itself, but the grammar into which it is placed.Video: Each sound on the album was recorded together with real footage of the moment it was captured. A custom Ableton-to-video tool (A2MVE) reconstructs that footage from the structure of the session itself — which sounds are active, when, and how many at once. Nothing is generated; all images are real footage. An Ableton session edits the city.
Over Exposure is an album about home - my childhood home, more specifically; in comfort, and in quiet reflectionson the past, present, and future.As I've gotten older, nostalgia hits hard, with greater frequency. As I meditate on my past, in hopes to inform myfuture, I've found myself returning to my childhood home and neighborhood in these reflective sessions.One thing I adored about where I grew up was how insulated it was from the chaos and noise of the outside world.I lived at the end of a street with a large field behind our house (filled with new homes now; sadly the field is lost totime), and during the days, everyone went to work - it was a classic middle-class American neighborhood in itsheyday - and as such, the days would just be so...quiet. You'd hear prop planes flying over, leaving the air fieldacross the bay; you'd hear birds, the occasional car, the clock chiming every hour, on the hour...outside of all that,there wasn't much else going on.
A spore is not simply dormant matter. It is compressed information held in suspension. Survival depends on latency. When conditions shift, activity resumes. What returns is not identical. Small differences accumulate. Variation is the operating principle. This recording adopts that model.“prototype” establishes a base state: technological residue, low amplitude interference, unstable circuitry, latent harmonic traces. It is informational. It does not present themes to follow. The ten “cultivations” function as environments. Material does not develop through contrast. It undergoes adaptive drift. Fragments recur, but each time altered in density, saturation, and temporal behaviour.Listen for persistence without stability. Electronic debris enters orchestral space. Orchestral sound does not sit above distortion. It forms within it. The cello tone in “Prototype” is not an accompaniment. It is an early mutation. From it, a larger field condenses. What appears stable is already changing. Latency and activation structure the form. Extended near-stillness stores potential. Small spectral shifts act as events. Change is continuous but often below the threshold of immediate recognition. At one scale, the work behaves like fine digital particulate matter. At another, as a sustained spectral mass. These are not separate layers. They are different magnifications, or perspectives, of the same material.The extension remains: .dat.
MemLoss is about my speech and memory becoming noticeably inconsistent.Day-to-day, I am forgetting words when I speak (not when I write), as well as forgetting various steps in whatever task I’m supposed to be doing. Because of this, I’ve begun using my music, animation, artwork, etc., as a method of documentation. Not so much documentation of speech and memory loss, but of the confusion it leaves behind.The most interesting part of this issue, to me, is the amount of proof it takes to get those around me to actually understand what is going on. From having to use descriptors instead of the actual words I need, to inadvertently missing parts of the processes I perform every day. While it is audibly and visibly apparent; rather than trying to understand, it’s discounted. Most frustrating is the decline. Of course this is glossed over, because it’s like watching an hourglass - change is happening slowly - faster now than before, but still glacial to the outside observer.MemLoss will be my opening statement on what is happening. Going forward my style will both be pulling from the past and becoming more and more like what is happening to my mind. Fragmenting and reiterating.
With Metamorphoses, OdNu + Ümlaut enter a deeper phase of their shared language, extending the quiet revelations of Abandoned Spaces and the weightless drift of Mitochondria Johatsu into a single, continuous form. What once unfolded in fragments and interwoven vignettes is here distilled into a 60-minute arc—unbroken, patient, and alive—where time itself becomes elastic, dissolving into a slow and luminous becoming.
Hwapo is a work in four parts, based around field recordings fromthe place of the same name, a tiny fishing port in South Korea.These environmental sounds were processed and combined withelectronic tones during a residency at EMS (Elektronmusikstudion)in Stockholm, Sweden.
In Ümlaut’s latest release, Because you are alive, everything is possible, sound becomes an affirmation — a slow, unfolding meditation on the quiet miracle of being. Built from layers of tape loops, gently pulsing synthesizers, and intricate field recordings, the album drifts between the organic and the mechanical. Birdsong and wind mingle with soft percussive textures drawn from the hum of real environments — a world of subtle movement and hidden rhythm. Machines breathe and click in the distance; fragments of life are caught and transformed, re-emerging as delicate patterns of tone and time. Each piece evolves patiently, moving like light across a wall, or the steady unfolding of a thought. The mechanical sounds provide a grounding pulse, while the synthesizers open into vast, slow-moving harmonies that invite stillness. Every small sound feels intentional — placed with care and reverence — creating an experience that rewards close listening but never demands it.
Living between structured and textural forms, Svalr is a collection of sonic reflections and impressions from a field recording expedition to the remote Arctic archipelago of Svalbard. Built from the sounds of glaciers, fjords, wildlife and human structures, OD’s debut explores the synchronous harmonies of an isolated, extreme and rugged landscape. Each track on Svalr is representative of a day of environmental recordings, which play back as a sensory, field journal of Svalbard’s changing climates and unconventional acoustics.On Svalr, OD reaches beyond traditional ambient recording to magnify the subperceptual. The sound offers a new perspective on a fragile landscape and sensitive ecology, and the human connection and disconnection across the land that, despite its remoteness, critically absorbs the global impact of humans in the Anthropocene.
This album marks the culmination of a three-part release series, dedicated to celebrating online collaboration with fellow experimental musicians. The series comprises the following instalments: · Familiarity Folded · Familiarity Enfolded · Familiarity Unfolded Engaging in collaborative writing is a transformative creative practice. Through co-writing and remixing each artist embarks on an intimate journey, forging close connections with one another and their respective works. This process involves deconstructing existing auditory and textual elements, then reassembling them into new renditions. The movement of air and emergence of beats signify new life unfolding.
“Neural Network” is Idiiom’s first solo album, and it stands proudly alongside the works of pioneering electronic vocal artists such as Laurie Anderson. Each track is an improvisation, relying solely on her voice, which she manipulates through effects to create intricate loops and layered vocalisations. Much like Anderson, idiiom transforms the human voice into a multifaceted instrument—one that channels emotion, innovation and narrative in equal measure.As we journey through life, we encounter a boundless range of emotions, each adding meaning and depth to our humanity. Some feelings are cherished, while others—like grief—are more difficult to bear.The song “Real Sad” was born from a moment of profound sorrow and emotional honesty. On that late spring evening, after the loss of my brother, I surrendered to the rawness of my feelings, allowing the music to serve as a vessel for authentic expression. The track captures a profound emotional state, echoing spontaneity and vulnerability. Throughout the album maintains an immediacy and authenticity akin to the groundbreaking practices of electronic vocal innovators.All sounds and lyrics were improvised, with no composition or editing beforehand or afterwards, except for the final mixing and mastering by Michel Mazza (OdNu).
XII Sound is Alice DeVille whose SITE is the London Underground. “It’s difficult to know when my phobia of the tube began. But at some point, something changed, and I began to experience an increasing dread of the tube. Something about the very shape of it – the enclosure, the beneath the ground feeling, the crush of people – and soon, getting stuck in tunnels even for a few minutes would cause me to break out in a sweat. Every journey became increasingly distressing, and I started to feel panic rising within me every time the doors closed.Maybe to distract myself, I began to record my moments of fear and all that was happening in the tube at these times. Some of what you hear in Tube V is about this. Along with the fear, there is also a beautiful familiarity for me in the sounds of the London Underground. I grew up right next to Wimbledon Park station, and I remember falling asleep as a child to the squeak of brakes or the clunking, soothing rhythms of the trains. The familiar announcements, the snippets of conversation, and the sounds of life are deeply nostalgic and soothing for me.I have noticed that the tube, with its long windpipe, is a singer like me.At times in Tube V, I sing a duet with it. I wanted to mix natural sounds (birdsong, rain, waves, stones on the beach) into the industrial so that you are not always sure what is a natural sound and what is mechanical or human-made (is it a voice or is it atrain?). Almost like mixing paints to form new colours, I mixed these sounds perhaps to find my way back to nature, and to ease that grief of urban disconnection.After years in the classical music world as an opera singer and flautist, discovering Ableton, and especially the Simpler, has been literally lifechanging for me. For many years previously, there had been music running around in my head but no way to capture it.Back when I first started composing music in my younger years, I had only an 8-track recorder with a CD burner. I tried to make new sounds on that using my voice or recording various things from around the house, but it was never the music I heard in my head.I sample sounds with my Zoom H2n recorder that I previously used to record my singing lessons on. I carry it everywhere with me, especially on the London Underground. When I first discovered Ableton and the Simpler, I felt almost feverish with possibility. Even to this day, I am dazzled by how it offers you the most incredible opportunity to make your own, totally unique instruments – even out of the subterranean sounds of the London Underground.”
Gregory Geerts creates evocative electronic music encompassing rich melodic content and ambient techno. “Minerals From the Crust” invites listeners on a sonic expedition inspired by the Earth’s layers, meticulously crafted using innovative Euro Rack modular synthesis techniques. The album uncovers deep textures and intricate patterns, hidden sonic jewels found beneath the earth’s surface, transforming geological marvels into a captivating auditory experience. Each track on the album acts as a sonic excavation, uncovering new timbres and rhythmic structures that reflect the complexity and beauty of the natural world.“With ‘Minerals From the Crust’, I wanted to capture the unpredictability and complexity of geological processes using the limitless possibilities of Euro Rack modular synthesis,” explains Strangebird~Sounds. “Every moment in the studio felt like uncovering a new element, a hidden frequency or a buried rhythm waiting to be revealed.”
In Cairn, Düngfelder’s focus on atmosphere and perception meets Beaudoin’s concern with time and memory, creating a dialogue where each sound becomes a trace left for the other to follow. What remains is a series of sonic markers, small monuments to attention, letting listeners linger on in the fragile continuations of sound.
The unpredictable and incredible sonic result of three inspirations, three experiences and threesouls with one thing in common, the Southern Lands of the Argentinian scapes by the Rio de laPlata, where they grew up. OdNu, Mi Cosa de Resistance and mRn designed a mosaic of microscopic detail, atmosphericvastness and intimate melodies inviting the listener to stay, like that long lasting hug of fraternallove.These three musical amigos have poured out their affection for music into each note, eachtransition and each texture for the relaxing and precious respite of the listener, inviting eachindividual to an intimate travel to the sonic world of the Southern Lands.
“At the beginning of working on this album I had an idea of the feel that I wanted to achieve, but no clear direction. I had a piece which I was experimenting with that captured that feel and sent it to poet, Neil McRoberts, to get his thoughts. He wrote back; “when I put the track on, the initial sounds brought an image to mind of someone moving very carefully in an abandoned and crumbling building, perhaps stepping on the broken pieces of an old picture frame. I had the impression that the person had returned to the ruin of somewhere they had lived in the past and as the more melodic elements of the music emerged, with their beautiful melancholic melody, they seemed to embody the memories of the person, looking back with a mixture of sadness and happiness. That set of thoughts made brought to mind some of the abandoned homesteads that are scattered in the rangeland and corners of the valley floor.
Following in the tracks of Musique de Film I & Musique de Film II, Ümlaut’s new album, Musique de Film III, continues to explore the relationship between sound and vision. As a point of departure, this album presents a new creative direction in the evolution Ümlaut’s unique world. Each of the twelve audio and video tracks were created individually and simultaneously, with an overarching theme of perpetual geographies in mind. While the titles impart hints as to a song’s inherent meaning, room is left for listeners to discover their own interpretations. Simplicity is the key. For maximum sensual impact, songs are stripped down their essentials. Nothing is superfluous. The sound is futuristic, yet immediate, where being in the moment yields rewards. A palette of atmospheric colours and spectral harmonics lures the listener into a peaceful dimension of silence and harmony, where delicate field recordings and distorted textures are threaded with warmth.
Traditionally a real-time improviser, Thorn applies the same method here: live improvisation, spontaneous structure-building, and experimental mélanges of violin and code. Many of its foggy textures derive from Haze, a tool he developed for generating densely patterned lo-fi soundscapes.A sonic memoir imbued with violin and experimental code, a curious doubling of terms begins at the churning waters of Necarney Creek merging with the Pacific. Unfolding from pure lyricism into machinic textures, the music summons the verdant twilight of the primeval forest and the glow of the city lights it ad-umbrates. The machinic is both refuge and trial in this work, though the final word is the fracturing, hard-driven logic-become-logistics that may signal a morbid dénouement.
Central to the practice of remixing and collaborative creation is the principle of relinquishing individual control in favour of collective immersion. Both the remixer and collaborators must adopt a responsive and adaptive approach, prioritizing dialogic engagement with the material and the creative contributions of others. This relinquishment fosters an environment conducive to discovery, wherein the emergent work transcends the limitations of individual vision.
The act of remixing music and engaging in collaborative writing represents a transformative creative practice wherein existing auditory and textual elements are deconstructed and reassembled into intricate, overlapping layers. It is an intimate process and chance to get close to other artists and their work at a deep level.
Built on layered drones, fleeting percussion, airy melodies, fragments of piano, and richly textured field recordings, the album moves like a single long breath across ten seamlessly woven tracks. Neys constructs shifting sound patterns—overlapping, dissolving, re-emerging—that evoke a place just beyond reach, both familiar and strange. The music never settles entirely, instead inviting the listener to move closer, to listen deeper, to stay present.
I usually stay away from using field recordings of birds in my tracks, as I think it is a bit of a trope in ambient music. However, those moments where I sat in the small outdoor space that I have at my house, are very valuable to me and deserve to have a place here. Together with the lines of electric guitar that move in and out of this track.
Filament is taken from "Out of the Blue", Tomo-Nakaguchi’s third album on Audiobulb and marks a significant evolution in his sonic exploration. Meticulously crafting intricate soundscapes from a vast array of audio elements, this album showcases a new level of complexity and beauty. Ranging from serene ambient sounds to aggressive noise, the album takes listeners on an unpredictable sonic journey. With its rapid shifts and layered textures, each track feels like a rollercoaster ride through sound. The intricate layering of sounds creates a sense of floating through a cosmic expanse.
The antithesis of the dry, inharmonic textures of a ping pong ball, pitched, resonant timbres coalesce.
Through an effortless merging of two minds, their respective worlds of sound and experimentation are even further expanded in this new album. During the listening experience thoughts dissolve into open space. Michel’s interplay of instruments, electronics, tiny melodies and grainy decomposed sounds; along with Jeff’s tape loops, atmospherics, fresh textures and micro rhythms, flow seamlessly into a diaphanous river of sound. Listening is a joy. A true alchemy of sound and vision.“We were striving to visualize an abstract concept by weaving together our unique sounds. Imagine a bird flying over the water, swooping gently up and down, almost touching the surface, but not quite. Creating a pattern similar to the warp and weft of fabric, but in this case the fabric of sound.” — Michel & Jeff
Trembling echoes flow through glass veins like thick mercury, acidic drops seep through air coats, and boiling echoes freeze into amorphous resinous forms. The concrete block of the building hums with the cold rhythm of a repetitive arpeggio _io _io _io _io. The resin absorbs the vibrations of the synthetic flickers, and blue light wraps around its solidified structures. The chemical objects hum light melodies bouncing off the walls as they operate. Drones are born in the gaps, weakening as they come to the surface and giving way to liquid passages. Each tone is a fraction of a chain reaction _sin _io _sin _io, which emerges and weakens, appears and appears and fades away again.The artistic work of Jacek Doroszenko focuses on the relationship between sound and space, capturing the unique audio or audiovisual identity of the various environments in which one moves and realizes oneself. The audio track in his works refers to the characteristics of a location, thus referring, among other things, to the necessity of learning to listen and look in visual art. The sound elements of a chemical factory in the city of Ústí nad Labem became the core of the new work for Gallery 3, to explore the variability and possible complexity of the sound ecosystem of this place.
Somewhere between the hum of parallel pipes and the inaccessible laboratories of the chemical factory, the dissonant chords of liquids and machinery reverberate endlessly. The space in which these sound patches resonate causes reverberation and interference of multiplied tones. In this dense composition, it is the space itself that performs the sounds, reflecting and playing them back again, as if it were trying to perform an arpeggio. Sometimes these arpeggios merge into a sound mass and emphasize the acoustic pressure of the chemical space. The resin produced here has the character of a sonic glue, moving as if in slow motion and filling one vessel after another. Inorganic compounds exhibit a range of binding properties, as does this sound composition, where individual phrases are connected by invisible filaments.
Taken from Memory Scale - Chapter FiveAn album that oscillates between lush density and contemplative minimalism. It invites introspection, occasionally laced with moments of quiet euphoria. Fans of artists like Boards of Canada, Seefeel, and The Durutti Column will feel at home here, yet there’s a uniqueness to Memory Scale’s sound that resists simple comparison.From Cosmic Echoes to Earthly Whispers, there are some proper highlights. "Causes & Effects" opens the album with a gentle ripple of tones, building a sense of anticipation. It’s like stepping into a dimly lit cinema, waiting for the first frame to flicker to life. "Sense Data (Prelude)" and its full-length counterpart, "Sense Data", form the album’s cerebral core. The interplay of melodic motifs and shimmering textures evokes the cerebral yet emotional pull of Brian Eno’s ambient masterpieces. "Afternoon’s Echoes" feels like sunlight breaking through a canopy of leaves - both grounding and transcendent. The processed bass guitar and the pipe organ here lend a subtle, almost tactile resonance."The Armillary Sphere We All Need" is a standout, its title as evocative as its music. The track is a swirling dance of harmony and rhythm, reminiscent of Dieter Moebius’s more melodic experiments.
A reflection of Neys's observations in nature, capturing the transient beauty of fleeting moments and the serenity found in stillness."I wanted to convey the idea that our thoughts, much like the tides, are ever-changing and influenced by our surroundings," Neys explains. "Through this album, I hope to take listeners on a journey that resonates with their own experiences and emotions."A blend of evocative melodies and textured soundscapes, showcasing Neys's signature style of combining classical elements with contemporary influences. Each composition serves as a chapter in an overarching narrative, encouraging listeners to reflect on their own emotional tides.
Precise and focused, there are no accidents here. A pathway to a very personal world has been created—a world replete with intentional and conceptual connections. Randomness and selection define the edges of digital manipulation, atmospherics and textures. Distant synths and field recordings echo, transform and expand. Intricate details enter the headspace while sounds sketch a new landscape. As in poetics the variation of microstructures and artistic vision are both beautiful and isolated. Through deliberate and detailed production, the album calls forth a defined sense of place. Intentionally random sonic exploration has always been about transforming pure chance into something decidedly different. Without sound there can be no silence.
November is here and winter is showing its first signs. In this album called MÖRK, which means darkness in Swedish, Henrik Meierkord is exploring the deeper meaning of dark tonal depth together with his both classical cello as electric cello and other strings instruments, this time injected with his pedals, electric guitar and synthesizers as a unique sound. Sometimes you can develop a track by making a mistake, for example if a delay pedal locks itself and becomes a drumbeat by a strange sound. This means that a lot of the tracks are as a matter of fact improvised grounds that he later builds upon. This album needs you to inhale it as a whole and explore the evocative tones of a darker unconscious world.
Individuals shape their identity based on the values that are important to them. This process is dynamic and long-term, involving reflection on questions about self, life goals, values and the future.Contemporary approaches to identity assume that it is constructed and negotiated in response to changing social and cultural conditions. In the conflict over self-concept, multiple types of input can contribute to the total subjective value of each choice option. Interventions that increase the degree to which the target behaviour is perceived as self-relevant will improve self-regulation. Interventions that increase an individual's perception of their own actions as relevant will improve self-regulation.
The peaceful interplay of sounds evokes a hypnotic sense of movement. The listener is lured into a mind vehicle propelled by serenity and beauty, a journey unimpeded by the physical limitations of travel. Working in a lineage of musique concrète anchors one in the moment. Abstract, beat-less themes and atmospheric percussions interweave throughout the ambient drift and sizzling sound.
Once again Daniel Vickers and Sergio Mariani_MRN cross paths in the mysterious ways of this world. New Dawn is their sonic witness of the simple journey of a simple life, in which each day from above prepares us for the next one, learning love and mercy for one another into the way of peace, the ultimate, always hoped for new dawn. The music is a sweet and nostalgic flow of guitars, musical toys, field recordings and soft synth pads, steering up upon a deep listening experience, the latent and natural emotions of our daily life.
As an artist working with sounds that tend to be science adjacent, one phenomenon that I’m continually intrigued by is the concept of the dawn chorus – both with regard to the ornithological sense of the term, as well as the electromagnetic – not to mention the various confluences that the two may engender. In the case of the former, while not a birder, or at least not one as devoted as numerous colleagues, the avian dawn chorus is an interesting measurement of the ecological health of a region – simply put, barring some exceptions, more birds equals a healthier ecosystem – and on several occasions, one can track a noticeable difference in activity as human development encroaches farther and farther into the few remaining wild spots left on this planet. With that in mind, I find myself continually compelled to document these moments of birdsong whenever I can, which, in this case, typically manifests as an early morning activity (possibly triggered by my own personal response to the electromagnetic dawn chorus) that I typically start my day with while on holiday in the tropics.
We are thrilled to announce the latest musical exploration from renowned cellist and composer Henrik Meierkord who has teamed up with peers to revisit, review and remix his track Erinnerungen. Each artist is invited to bring their own memories and explore an interplay with Henrick’s original form.Henrik Meierkord's music has been praised for its emotional depth and technical brilliance, with Erinnerungen being no exception. Henrik Meierkord is taking a fresh approach to the composition by collaborating with other artists and reimagining it in a whole new light. The result is an innovative blend of classical and electronic elements that brings new life to Erinnerungen while still staying true to its core essence.
Afternoon Clouds is the first track from Neuro... No Neuro's Mental Cassette album.In this remix Autistici detunes the magnetic tape creating clouds of melodic moisture and droplets of static rhythm.
Reaching back to childhood, the sound of cassette brings forth moments in time long-forgotten. Utilizing melody to help remember, Mental Cassette gently cups dissolving memories; fragmented recall set out on softly unfolding cassette tape reels…
Taken from the album Ronroco Rococo Memories, an album of bubbling rococo ronroco arpeggios that exude melancholic melodies supported by the addition of synth sounds and field recordings. All of these elements takes the album outside of the world music realm and into an experimental micro sound and textural dreamscape full of subconscious memories from OdNu's Argentinian past.
Frameworks is an album that seeks to explore the emotional landscape of changing the lens of how you view the world. Studies have shown that most habits and beliefs are set by the age of seven. And yet, throughout life we sometimes undergo radical change. What does it mean to change the way you think? How does it feel to change the way you view the world? What does it sounds like to leave a part of you that you thought gave life meaning only to find a deeper and truer meaning. The tracks across Frameworks present a narrative arc of having a belief, relationship, ideal, or other foundational aspect of your life that is removed from your life. The album moves through the spaces of unease and tension, but ultimately finds itself in a new space of hope and calm. The music of Frameworks is built on a piano tuned, not to the traditional 12 tones of equal temperament, but rather to Just Intonation scales of the composer’s devising. Some of these intervals are as close as a sixth of a tone apart. At the beginning of the album, these microtones are utilized to show tension and discomfort, but by the end the listening ear becomes acclimated to them, and they are recontextualized by the harmonies to sound warm and inviting. This serves to further the narrative of the album as a whole. Throughout the album the piano is wrapped in granular processing, analog and modular synths, self-patched filters, and programmed beats.
Taken from the album - Café Tristesse which is a collaboration between Andrew Heath and Fernando Perales (Mi Cosa de Resistance). There is a gentle melancholy at play here set out by Fernando's lo-fi guitar, beautifully hesitant and fragile and Andrew's shifting textures and minimal piano creating clusters of melodic sound.
“Abandoned Spaces” merges both artists' distinctive sounds, talents and approaches to music making into an album that is full of otherworldly textures and melodies. Using a reductive approach to the compositions but with meticulous attention to detail Mazza and Düngfelder create jazzy vignettes that flow through heavily processed electric guitars, bass lines and drums that weave themselves into an ambient landscape of chiming micro sounds and ephemeral melodies. Songs flow into one another like water, which lends a devotional feel to the listening experience. In its truest sense, “Abandoned Spaces” is a tone poem. A merging of seemingly distinctive musical genres, it is an album of pristine sound design and unclassifiable style.
These tapes are a collection of new and old music by folks close to the Audiobulb family. Some were commissioned for this project specially and some were produced over the years in other contexts now collected and remastered here.Most recently I invited some friends and Audiobulb at large to have at a data dump of renders, stems and alternate takes. Quite a number of pieces feature from a segment of the EP "it's / a / hoot / to / mix / and / match".I had such plans for those trumpets but they never really materialized in "hoot". I'm really delighted that they've taken on a new life.
Perfectly executed electronic music. Motion, glitch with a smooth stability core anchored to multiple interior orientating points.
A sense (in Swedish ”förnimmelse”) is a biological system used by an organism for sensation, the process of gathering information about the world through the detection of stimuli.To this sense the brain can observe color, forms, heat, coldness, taste, movement, smells and sounds.But also in the unconscious we can experience things and perceive, like in a dream.While visiting an ancient monastery in Sweden I got a feeling or sensation that something beautiful and sad had happened there. I got inspired by these sensations and made music.In this album we will take a journey through these senses, from the world we live in, to the dream, the unconscious and things beyond words, sometimes a bit like music. It's an abstract experience…”Knowing your own darkness is the best method for dealing with the darkness of other people””Your vision will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes” (C.G Jung)
R Abacus Lndr is a colourful collection of ambient glitch, an EP with 4 hauntingly beautiful tracks oozing a dreamy cinematic vibe that reminds of the underground arthouse scene. Often dark and mysterious by nature, the soundscapes evoke a deep and existential state of contemplation about the deepening awareness that there's an entire universe of understanding forever outside our reach. Questions only lead to more questions, boundaries are fading and behind every fallen curtain a new majestic world emerges waiting to be explored.
Edges is taken from the album ‘Swept’, an exploration of emotional turbulence, resilience and rejuvenation. Created with electric guitar, modular and analogue synthesizers and pedals, most of the sounds were recorded at the start of the global pandemic. The album is bookended with field recordings made from the artist’s garden in East London. It opens with the sound of tarpaulin sheets on a neighboring construction site swept by heavy winds during Storm Ciara, shortly before the first UK lockdown, and closes with the sound of birdsong after rainfall, signaling hope for better times.
There is war in Europe. The Russian invasion of Ukraine has once again reminded us that peace is something we need to work on continuously. Sweden has not been in war for over 200 years, at the same time there are many people living here who come from conflict hotspots and areas at war. Parts of the Swedish population carry the trauma of war. Scientists talk about how it takes 4 generations to free oneself from the collective traumas of war. Those who have been living through the war are often silent, they struggle to survive, forget and return to normal life to protect their children, the second generation grows up with a feeling that everything has not been told, that something is wrong, and they begin asking questions. And so, it is transferred between generations and can thus be a hidden trauma.
Neuro... No Neuro creates his sounds as you hear. This is his sound processed by RETEXTULE WET.
Neuro... No Neuro creates his sounds as you hear. This is RETEXTULE DRY (no processing).
According to James Surowiecki, author of "The Wisdom of Crowds", for a crowd to be wise, it must meet four conditions, namely: diversity of opinion, independence, decentralization, and an aggregation mechanism. For this album, I gathered 60 different sets from a wide variety of sample libraries all over the world, and from these, I selected a total of 500 pieces of audio data. My goal was to use only these samples, editing them to turn them into musical compositions.
In Japanese, Yūgen signifies “a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering.” Yūgen suggests that which is beyond what can be said, but not as an allusion to another world. It is about this world, about this experience. The album cover and musical tracks were inspired by a piece of art that hangs in my bedroom. For weeks, as I lay on my back after surgery, I looked at the painting every day. It became a sort of meditative practice. Up until my recuperation, the meaning of the painting had eluded me. But over time, a closer focus on the artwork brought forth a revelation. The painting was about being reborn. New life, with no attachment to the past and no expectation of the future. A profound liberation of the spirit overtook me. Electronic sparks, intonations, chords, arrhythmic percussions, chimes and whooshes of sound free floated through my imagination… and “same but different” was born.
“The Long Night in Winter Light" is an album that began in the fall of 2021, just after the production of "Tayutau" was finished. Compared to its predecessor, which was characterized by a kaleidoscope of sounds created through a dizzying array of myriad material, this album was produced in a more restrained manner, with fewer effects and experimental sounds, and instead features strings and piano at its core. The resulting sound evokes a beautiful, majestic, and harsh snowfield. This world may still be in darkness. However, the beauty of the starry sky that we casually look up at seems to cast a ray of light on this world.
I started working with generative music processes as a way to give up control. I used simple rules of harmonic modulation with random processes to mutate simple musical ideas into surprising pieces. In other words, I used the generative processes to expand my concepts of ambient music and go in new directions. The result is an expansion of my musical ideas into longer form pieces. Generate is the start of a brand-new musical journey, and I'm excited about the new possibilities. I'm extremely excited about the 13-minute piece, Undo, that is both minimal and lush. I no longer feel trapped by perfectionism and I'm excited for the future. I used Eurorack, Cello, Granular Synths, and other instrumentation to make these songs. All pieces were recorded as a single take with minimal overdubs. I hope you enjoy this album as much as I did whilst making it.
Preoccupations with aquatic textures, underwater pianos, a nocturnal atmosphere and fragments from my everyday life merge and overlap. Most of this work has a softly saturated, almost molten character that I associate with the late evening or fading light.
Eric is a music producer, engineer, and composer based in Los Angeles, CA. His process involves improvisation and experimental sound techniques, combining my engineering toolset with my deeply rooted musical intuition. Eric's music can be equally inspired by Strauss orchestral works as it is Moog synthesizers. He takes an interest in sonic extremes, oftentimes pushing the limits of an instrument or piece of equipment. Eric is always seeking ways to reinvent and repurpose the tools at his disposal.
I began with field recordings of our home and of the music in our home. In contrast to sound-isolated studio recordings, the instruments were recorded in context, with the background sounds of our life present. The purpose was to record how the act of playing music exists in the intimacy of our home.
These are the dry samples that manipulated in AUXTURE V1.5 - see
AUXTURE release page > https://www.audiobulb.com/AUXTURE.htm
‘Brick and Air’ is a reflective and reactive collection of pieces that show an active engagement with the environments in which we live. In early 2021 Greig moved his family into a new home in a relatively unexplored area of town and was immediately struck by the aesthetics of the location both in sight and sound. The work that followed was all a reflection of this urban space that Greig and his family found themselves. Inspired by countless walks, a few outside recording sessions and sessions of photographing the new locale, Brick and Air was almost diaristic in its evolution. An ode to distant traffic noise and the hum of air-conditioning outlets behind shopping precincts.
Taken from MUSIQUE DE FILM II
55 soundtracks to 55 one minute films
I approached the creation of 55 films and soundtracks as a condensed spiritual exercise or meditation. A mind cleared of all distraction opens the floodgates to sounds and visuals and flashes of insight. Placing time limitations (at one minute per piece) leaves no room for preconceived notions or second-guessing. The intent was to work fast. Each soundtrack and film was crafted within a 24-hour period. Instrumentals seamlessly merge into an infinite realm of incidental electronics, mechanicals, voice, drones and intonations from the natural world. Corresponding films liquidize and flow with the music, one into the next, enveloping the listener/viewer in a protective world of otherworldly calm. I chose to make a total of 55 pieces because the number 55 is the tenth number (the number of “completeness”) in the Fibonacci sequence (F10). The mathematical pattern of the Fibonacci numbers also presents itself in Art and in Nature, and, now, in MUSIQUE DE FILM II.
Awake is taken from the album “My Own Island” - the result of my latest explorations within the immersive music realm and is my first Dolby Atmos album. My last album “Expansive Nothingness” was mixed binaurally and I really appreciated the spaciousness that the technology lent to my compositions. After that album was released in 2021, I became curious about Dolby Atmos and so alongside the creative process of composing this latest release, I was also figuring out the technical aspects of designing and setting up my own Dolby Atmos studio. I was interested in creating a studio environment that is immersive so that my composing, editing, mixing and mastering experience was also immersive. And in the process, I felt like I was creating my own island. “My Own Island” is about that personal creative space and individual internal reality that each of us has. Each track on the album are poems within poems where I encoded my ideas and feelings into the sounds, loops and melodies. Even the album titles can be read like a poem. The guitar is the main instrument (even synth sounds are played with a midi guitar) with the addition of supporting instruments like voice, charango, clarinet, prepared vst piano, various synths and field recordings. All sounds pass through hardware effects back and forth before being recorded in my DAW. The mix is also a big part of the composition where I work with fader and knob gestures as an expressive tool in order to add a more human feeling. The result is a weaving in and out of leitmotifs that travel through ambient landscapes, dub infused passages or even sometimes song-like structures. A humanistic, expressionist, unclassified album guided by intuition and mixed in Dolby Atmos and made entirely on my own island.
Soundscapes from granular re-recorded pieces are moving in all directions, chances and probabilities. The creative possibilities of the modular system react like an underwater eco-system as Strangebird~Sounds soars above taking in the scene. Atmospheric elements soar, an electronic countryside of melody is traversed, the rhythms of nature play a contrast to the backdrop of cloud blown synths.
I wanted to create tracks that implied motion, but a subtle motion in otherwise stillness, like the illusion of fluidity in a heat haze. Mostly, I wanted to make an album of unhurried music that was happy taking its time, each track existing in the moment, slowing up and speeding down.
We are a creative couple. In our symbiotic everyday life art mixes with reality. We operate in the era of digital dependencies. Contemporary technologies increasingly influence our lives and work, and the dynamics of their development make them more and more integrated with reality. Our location seems to be dominated by virtual images and content – digital immersion is an integral part of every day we spend together. There is no longer a dichotomy between the virtual and real worlds, we exist in a new hybrid space where boundaries extend beyond tangible experience. Fascinated by these phenomena, in the Bodyfulness project we try to capture the coexistence of physical and virtual life, to talk about the intimate experience of the body online and offline, to show a subjective, audiovisual study of the impact of modern communication solutions on our intimate relationships.
Taken from the album - Glitch.
An expressive showcase of Flavia’s highly developed and deeply researched sound. “Glitch” renders her unique cello augmented with extended techniques, voice, synth, field recording, loops and live electronics. An organic world where perfection flutters and distorts with a microcosmic grace. The work “Glitch” is focused on the aesthetic of interferences, errors, and sound granules in a melt of acoustics and electronics.
A glitch, a fault in an electronic system, becomes a malfunction of the classical way of playing the cello, far from the classical music canons to deconstruct the cello sound into small sound cells to experiment with different possibilities, so much that almost all the record sounds come from the processing of the instrument. Perfection offers no incentive for improvement and mistake is to go further. However unpredictable it may be, it has its own harmony. Integrating the error in a musical composition makes the concept itself harmonic.
Ichion is a project by Jason Hobman, a digital sound artist based in Tokyo. His work is ultra-minimal, and the tracks are based around short, often inaudible, samples, looped and manipulated by effects. His intent is to showcase the sound of the digital glitches rather than the samples themselves.
Each of the tracks is composed from one sound only, each sample being manipulated into a full-length track. The purpose of the album was to produce something strangely beautiful from fractured rhythms and extreme frequencies.
Tayutau is a Japanese word that means drifting, floating and unstable. It represents the musicality of this album, as well as the state of mind of Tomo when he was making it. It also hopes that in this unstable and absurd world, people will have time to let feel at will.
The album started with a lot of small sound elements recorded by Tomo. He fleshed them out with numerous effect plug-ins, synthesizers and distorted guitars to create multi-layered beautiful soundscapes like countless colorful creatures dancing at the bottom of the deep sea. They gradually change shape over time and drift in the deep sea of our hearts.
Taken from the album - Inperspectycon Vol. 2
This album provides the second installment of Inperspectycon, the first Volume being widely acclaimed by listeners and reviewers alike. Volume 1 outlined the onset and devastating impact of Coronavirus and in this next installment the story continues.
Tracks 1-3 bring Gert’s perspective on endurance and hope with the closing point being DFB132. The remainder of the album brings the variant mutations from Volume 1 with remixes and reinterpretations from Neuro… No Neuro; Volume Objects (Autistici); Stratosphere BOHDRN; Sv r; Anunada and He Can Jog. These works represent a poignant reminder that the same event is perceived through the lens of different people across the world, re-experienced, re-imagined with unique personal impact. The pandemic has left its toll but has also galvanized people to understand their identity, decide upon their actions and reach out to each other. Volume 2 is testament to the power of art to reach across boundaries and bring collaborative creation and hope.
Artwork by The Designers Republic MITDR ™
At the end of winter, the faint breath of life shakes the air as the world is still surrounded by the silence of death. The small breath will eventually become a prelude for the spring when all life plays fanfare and echoes to the world. It's like a majestic symphony played by nature, wrapping the world quietly but with tremendous power. The gentle Eastern breeze, the scent of flowers drifting from afar, the shortening shadows on the ground, the quietly climbing silver moon, the sprouting trees, and the beasts come back to life with their breath. The spring throughout the winter is always far away, yet the warmth is endlessly gentle and floats around the world like soothing music.
Transducing an organized bauble of fizzled, blurred and decaying memories and recollections into a crisper hallucination of mostly clean tubular icicles, crystal bulb arpeggiator, primal pops and liquids, and a general cosmic oddness, the arid-plane based Tuscon, Arizona synthesist, drummer and artist Kirk Markarian delivers an electronic mirage with his new album, Faces & Fragments.
Under the binary Neuro…No Neuro alias Kirk, we’re told, ‘illuminates fragments of memory and speech, as they wander out of focus in the growing aperture of time’. This translates into 12 tracks – the final track and thirteenth, ‘And The Energy Goes Back To The Ground’, is the one exception (relatively a sci-fi ambient etude with orbiting synthesised waves) – of gate-clipped and interrupted Mouse On Mars bleeps, Sakamoto’s most far-out early 80s experiments on his new computer, cult library music, a futuristic scoring Vangelis and slurred, slowed down voices from inside the machine.
Fragments then of fuzzy hive buzzes, cartoon sounds and sub-bass grumbles flicker in and out of Kirk’s mind. A trip switch makes sure that the flow is, although mostly liquefied and spongy in sonic shaping, constantly stopped: Just as one detuned loop, Forbidden Planet power source, blob-y collection of notes, clicks and retro computer calculus appears it’s soon cut off. A strangely disrupted soundtrack appears like a futuristic dream from a broken feed. Kirk does however shine, illuminate with certain clarity on the most clean if weird of radiating abstract electronic navigations.
It’s as much down to his painter’s eye as it is his ear that these electronic episodes prompt the ‘synesthete’ in me: a mix of pastel-shaded pink oblongs and washed-out red cylinders and round bottomed shapes if you must know; not unlike Kirk’s album artwork itself. Colours, shapes, memory chips have never sounded quite so interesting.
With its three year anniversary on the way Audiobulb Records releases the third edition of its exhibition series. Designed to illustrate the growing confidence in a label sound that has captured the hearts and minds of listeners worldwide.
Ultre’s track is a phenomenal piece of rhythmic programming crafted over a complex piano arrangement played in real time. Ultre’s Finn McNicholas is destined for great things in the world of electronic music. His live performances are picking up praise across the world as he performs with the likes of Tim Exile (planet-Mu), N>E>D (Warp, Overkill).
Bluermutt takes a foray into the world of minimal sound design and composition. Clear and clean tones are explored and unpacked into a series of beautiful abstract expressions.
The second instalment of the series invites contemporary artists to capture field recordings and create a composition depicting the essence of their favourite place. The sounds emerge from city streetscapes, deserted factories; isolated countryside and a homely bedroom. The aim has been to enable a creative interaction between external and internal realities. It is hoped that the pieces will inspire the audience to become increasingly active listeners whilst experiencing their own favourite places.
Based in Carlow, Ireland, Jimmy Behan's work blends acoustic and electronic sounds to explore the meeting points of present and past, random and regular, real and imagined.
For Dancers Only is taken from the album Here We Are Now - an exploration of the present moment and the impermanent nature of existence. Sounds and melodies form and unfurl before dissolving and morphing into something else, with no particular purpose other than to be. Recorded during the covid pandemic, it helped remind me to treasure each day, rather than dread the next. The album is dedicated to my dear old cat Loley, who passed during its making.
A year into lockdown, the pandemic forced me to take a deeper look into myself. Taken out of my comfort zone, I decided to experiment. To think in different ways about composing my music. Themes of luck and chance inform the underlying creative process behind “GRAND TRINE”. In astrology, a grand trine is a harmonious pattern formed when three planets in a horoscope chart are each placed 120 degrees apart in a single moment in time, creating an equilateral triangle. Mindful of the implications of this arrangement, I simplified and clarified my attempts to capture the solemness of the times using meditative images that invited reflection. A contemplative walk through a slowly morphing tapestry gave birth to other musical languages employing sound, form and function. These elements, constellating as dust and interspersing with sparse notes, are disseminated over a landscape of subtle noise. In constant fluctuation, the complex combinations of tones remain warmly alien. Although soberly futuristic, this album is a sombre and subdued effort that, in the end, feels inherently satisfying.
Taken from the album Soft Power.
I created this musical project in 2018 with the idea of bringing together my experiences, my memories, my encounters and to feed my compositions. In addition to reorganizing my ideas, I have also reorganized my creative space by orienting myself towards tools and instruments that also represent my feelings.
And I'm talking about my studio because it's a central part of this album. This is where I went regularly for 3 years, once a week, to have a special time, time for exploration and introspection. The rules were not to think about the composition, on the contrary. Focusing on a single instrument, experimenting with different recording processes (even absurd, utopian, aberrant), using the cassettes of my recordings as a child, immersing myself in a modular synthesizer patch, developing a plugin, trying to play the guitar,… Each session was an opportunity to discover things, to be amazed at the result of my trial and error, to let oneself be lulled by infinite sound loops.
This album is all about Corona and the impact of the measures taken to beat it. As a social worker Gert got to see the undercurrent of what those measures bring about especially to the socially weaker people and it is not a pretty sight. In the past period he saw people collapse on the continuous non-perspective of never being able to get up again. He saw people hopefully trying to do their best to make things bearable. He witnessed people taking refuge in rebellion. He saw people practicing altruism to the most honourable meaning of the word. And he watched all that hope being crushed like a walnut.
Taken from the album 'View' which interweaves electronic sounds made with PureData, field recordings, and live musical instruments.
Otaru works with the themes of ‘memory and distant views’, ‘decay and corruption’, ‘flaws and rebuilding’. He creates beautifully broken soundscapes by interweaving ‘cheap’ equipment and guitar effects.
[Re]View is a reimagining of Otaru’s music by a process of remix and reinterpretation by Volume Objects (David Newman - label founder). These reworkings celebrate the beautiful flaws and timeless broken melodies of Otaru’s music.
An exceptionally well planned micro-glitch urban landscape created for the convenience of suburban commuters. Engineers, surveyors, electricians and accountants have ensured every detail is correct. The unsightly pipes and wires and tucked deep beneath the surface to ensure a pristine and palatable life experience for inhabitants.
Causeyoufair returns with an exploration of loss, comfort given and forgiveness. The work allows themes of meditation, relief and connection to others, nature and sound a form of comfort and recovery. Focusing on space, reverberation, emotional resonance Solace encourages the listener to become truly immersed. It is not that meditation can ever undo loss but the practice offers a place of refuge, solace, and peace, in some of the most difficult circumstances imaginable.
On the crest of “Everything is always the same”, Intelligent Life now presents their visionary second release, “Lost in Translation”. Joining the group is renowned trumpeter Joshua Trinidad, whose burnished tones and spellbinding improvisational skills beguiles the listener with an air of relaxed restraint. The alluring timbre of Brown’s contrabass gently floats the articulated notes of Trinidad’s trumpet, which then seamlessly interweave with the mystical texture of Düngfelder’s electronic world. Out of this fluidity of sound a new language is born. Boundaries are defused and the listener gets lost into an unchartered world.
Düngfelder, Brown and Trinidad merge their individual experiences and talents to produce meditative music with an edge. With a blend of idiosyncrasy, depth and the unexpected it is a unique palette not come across in most experimental albums.
OdNu’s latest release “Expansive Nothingness” is a binaural 3D textural experimental guitar ambient album. It was recorded throughout the weird year of 2020 as a way for Michel to cope and channel his feelings on the events that took place. He discovered that even the most intense, chaotic and surreal realities can become harmonious when we don’t let fear control us and we allow ourselves to observe from a perspective of expansive nothingness.
Michel uses the electric guitar as the main sound source for this album but always very processed, sometimes to the unrecognizable and often pushing the guitar sound to the breaking point. Loopy leitmotifs come and go knitting feelings and ideas and creating a space that for a time seems unable to contain itself. In this way he is able to create music that is visceral, raw and dramatic and he pushes sound to experimental directions without losing clean and recognizable melody and emotion.
Grand Entrance is the first track from Quiet Noise's exuberant album Story Machine.
Story Machine sets out an expansive result from a context of limitation and pandemic lockdown. Rather than a sense of confinement we have a sense of adventure, escaping into a melodic alternative reality. This is a joyous journey and a wonderous ride tinged with brilliance aligned to the recent masterpiece works of Plaid. Adam reflects: “Stuck at home, sitting with my wife and children while they worked from home, I set myself the challenge of creating pieces using only equipment that could fit in my space on the living room table. Motivated by my game and pleasantly surprised by what I could achieve.” The result is an inspirational album that catapults the listener outside of small environments into a story of escapism, freedom and joy.
Story Machine sets out an expansive result from a context of limitation and pandemic lockdown. Rather than a sense of confinement we have a sense of adventure, escaping into a melodic alternative reality. This is a joyous journey and a wonderous ride tinged with brilliance aligned to the recent masterpiece works of Plaid. Adam reflects: “Stuck at home, sitting with my wife and children while they worked from home, I set myself the challenge of creating pieces using only equipment that could fit in my space on the living room table. Motivated by my game and pleasantly surprised by what I could achieve.” The result is an inspirational album that catapults the listener outside of small environments into a story of escapism, freedom and joy.
Maya’s Night started with me trying to create a soundtrack for the film “Very Eye of Night” by Maya Deren.
Afterwards, I decided to create an album with each track as a different scene for an imaginary film called “Maya’s Night”.
Without a specific narrative it follows the adventures of Maya through her memories and dreams. Main instruments used were Prophet 08, Waldorf Blofeld, Yamaha Reface CS and Vector synthesizers with field recordings.
The new album ‘Object Models’ has taken a broad, yet calculated approach to both the sound and composition of its elements. While retaining much of the pop-music track length credo of ‘Let’s be Happy', the spacing between parts has become less structured, focusing more on the breathability of track in full. Never fully silent, there is now just as much focus on the quiet parts as the loud.
While a few of these pieces are about prior and current neurological experiences, the overall focus of ‘Object Models’ is pinpointed on personality changes due to neurological damage. Socially, having to appear the same while old versions of the original are worn-out photocopies; a card-catalogue. The dusty Rolodex®. Which 'face' to choose in which social situation, and the occasional errors; a misplaced index card.
These tracks were made by Tomo-Nakaguchi using AUXTURE.
http://www.audiobulb.com/AUXTURE.htm
AUXTURE is a sampler based on random playback of files from a folder enabling the audio exploration of single samples or entire folders through gestures, randomness and modulation.
Tomo-Nakaguchi is musician / sound artist living in Yokohama, Japan. He is a member of experimental rock band "1769" and multimedia group "skyward photo film". His work creates dreamy and warm texture use layers of modulated acoustic / electric guitar, sampler, broken tape machine, field recordings and many instruments sound.
These tracks were made by Tomo-Nakaguchi using AUXTURE.
http://www.audiobulb.com/AUXTURE.htm
AUXTURE is a sampler based on random playback of files from a folder enabling the audio exploration of single samples or entire folders through gestures, randomness and modulation.
Tomo-Nakaguchi is musician / sound artist living in Yokohama, Japan. He is a member of experimental rock band "1769" and multimedia group "skyward photo film". His work creates dreamy and warm texture use layers of modulated acoustic / electric guitar, sampler, broken tape machine, field recordings and many instruments sound.
Blur is from Seigo Aoyama's new album "On The Drift" - based on the original scenery that he has been holding in his heart since childhood. It's like his diary, in which various scenes colored by memories and experiences are drawn through music. His idea in this album is, "Until the day when I live by rooting on the ground, I will flow and drift through the landscape like a cloud floating in the sky."
The scent of flowers drifting out of nowhere on spring nights. At dawn of summer, when everything is asleep, the starlight disappears from the sky one by one. A faint whisper of fallen leaves that suddenly trampled on an autumn afternoon. The warmth of the sun through the glass on a winter morning. Each landscape and feel becomes music and is scattered throughout this album.
Tomo-Nakaguchi is musician / sound artist living in Yokohama, Japan.
He is a member of experimental rock band "1769" and multimedia group "skyward photo film". His work creates dreamy and warm texture use layers of modulated acoustic / electric guitar, sampler, broken tape machine, field recordings and many instruments sound.
The tracks on this album were composed from 2005 to 2019 and almost every them recorded or re-recorded between 2018 and 2020. Tomo-Nakaguchi created a flood of sounds by processed guitars, synthesizers, chopped loops, smartphone apps sound and more. He aimed to create a sound that blends chaos and beauty on this album.
Intelligent Life makes its powerful debut with this genre-defying album. Ultimately unclassifiable and obsessively listenable, it is an ephemera of sound that defuse boundaries. A structural philosophy of experimental contrabass underscores the ambient, down-tempo and avant-garde components, which fluidly superimpose with the electronica. While the contrabass is clearly a foundational element, it serves more as a point of departure than a defining sonic envelope. Düngfelder & Brown take their disparate experiences and talents to attack convention. Alive with vivid colors they give the meditative music a real edge with the unexpected. It’s full of an idiosyncratic energy not found on most experimental albums. A brilliant debut.
Causeyoufair has composed two albums of breathtaking beauty, delicacy and grace. The work allows themes to emerge and be explored across 33 tracks and volumes. There is a focus on space, reverberation tales and the emotional resonance stimulated by his refined sound pallet. L’Sonnet Vol. I & Vol. II encourages the listener to become truly immersed - accessin g dreams, desires, love and loss.
Each track was carefully assembled to create imaginary tunnel-like structures of sound. I tried to create a sense of floating with undulating drones, interspersed with intricate details that loop and unfold. I hope this music has a restful and peaceful effect on the listener.
Av3ry is an AI program and a virtual persona, who is composing music, communicating with people and learning from interactions.
The main component is the on-demand conversation and art generation of the bot. The goal is to create unique pieces of music and art in the given moment - and based on the criteria of the user interaction.
In the idle process, when not communicating, the system generates random exports and creates a database of 10,000 music pieces. Furthermore the system running on its own creates a continuous audio stream broadcasted live 24/7. It is continuously evolving and changing musical progression.
Audiobulb Records is an exploratory electronic music label proudly based in Sheffield/UK. We support a worldwide roster of wonderful artists whose work is often described as electronic, ambient, microsound, electro-acoustic, idm/glitch and modern classical.
In September 2020 the exploratory music label Audiobulb Records reaches 100 releases. To celebrate we will be releasing one single per day for 35 days.
Each single is a unique art piece from artists past and present as well as friends of the label. We consider it a great privilege to work with these artists. Creativity which comes forth in such subtle, beautiful and at times unsettling forms.
As well as their music each artist chose an image to represent their track which is hung in a frame on the exhibition wall.
The singles will be released one a day on spotify, iTunes and other digital stores. Bandcamp will have the entire collection available as a compilation with individual artwork for each track.
Tracing Your Sulci - from the album 'Let's Be Happy!'.
Hot on the tail of Neuro... No Neuro’s full-on ambient onset - “A Particular Timeline” - “Let’s Be Happy” provides a mélange of arrangement techniques. Rhythmic, yet less percussive. Melodic, with broken pieces everywhere. Ambient without the long-form structure. Lowercase without the minimalism. Using the practical frameworks of “Scans”, the tracks take on the length of a pop-music track, but are full audio sculptures of a moment in time. Not fragments, but concise, complete builds. While completely without traditional percussive elements, “Let’s Be Happy” is abundant with rhythmic aberrations. Pulling from the looping elements of modern music, then breaking the traditional loop traditions. Beautiful melodies, gentle stop/starts, chattering, and positive harmonics are the specialty of the day. As before, these pieces are about prior and current neurological experiences. Epileptic auras, memory loss and its point of departure, visualizations, behaviors, and emotional content. This is a method of recall.
Ümlaut is Jeff Düngfelder, a U.S. experimental sound artist based in Queens, New York. The thematic concepts distinguishing his work are absence and silence; the ineffable exchange between viewer and image; random moments of stillness within a landscape in flux. The listener sets out on a richly layered journey into the unknown. With computer-as-instrument, fragments of sounds, textures and a warm palette of noise patch together. Found acoustics will tweak the listener's inclination to reflect and discover. Manipulation of sound seamlessly juxtaposes the digital world with field recordings. The universal assimilates with the personal. Sit very quietly, and when the scenery shifts, slip between it.
On his debut with Audiobulb records, Brighter Than I Thought, he recontextualizes the familiar sound of the piano by processing it with a modular synth. This creates a swirl of electro-acoustic landscapes. Each track was recorded in one take where the synth processed the piano improvisations live. Courage, Dear Heart uses the 2hp Pluck synth voice and What We’re Fighting Against includes the Make Noise 0-coast, otherwise, all other musical sounds on the album have the piano as their sole sound source.
Tying the musical elements together are snippets of field recordings Micah captured during his everyday life to amplify the emotional themes of the album. These themes explore the surprise at finding unexpected joy even at our darkest moments when our worst fears are realized and facing the unique stresses of adulthood by retaining a sense of childlike joy.
Gear used: Mutable Ears, Reflex Liveloop, Mannequins W/, Pico dsp, 2hp Verb, Bastl Cinnamon, 2hp Pluck, Make Noise 0-coast, Ornament & Crime, Shakmat Modular Bishop’s Miscellany, Make Noise Function, and Make Noise Optomix. Tracked and mixed in Ableton Live.
Of Mirrors has been recorded from November 2011 until March 2012. After finishing it, we kept this album in a secret place until today...
Electronics, instrumental and field recordings by AN MOKU. Electronics and Mixing by Virlyn. Mastering by Weldroid. Swiss Performers: Piano by Cornellia Stromeyer | Violin by Orina Zänerle | Cello by Jacki Knöpfel. All instrumental and field recordings captured in Switzerland and Iceland. Ending of «Frost» captured during an orchestral warm up session at Harpa, Reykjavik. Modified spoken sample taken from «The Seventh Seal» by Bergman, 1957. Cover Picture by Dominik Grenzler.
"While Scans explored much of the process of the last brain surgery, "A Particular Timeline" moves solidly into the day-to-day. From incoherent thought, to pondering one's own timeline, and moments of sheer longing, A Particular Timeline bridges the gap between several permanently residual issues both prior to and following the story behind Scans. A long-term set of side-effects. Using different sound sources, A Particular Timeline provides a flowing, ever-spreading, gentle touch, opposite of Scans' percussive taps and whirs. Moments meant to lose oneself in."
"Presence" - the natural, silent, transparent state of mind, non-conceptual and not identified with any mental content, entirely and effortlessly awake and lucid, in total peace.
Quiet ambient soundscapes for piano, electric guitar, electronics, live-looping, and field recordings. The music was entirely improvised and recorded during several recording sessions in Rome between 2010 and 2018. There are no overdubs (except for the field recordings).
“A Mere Fraction” is an album that explores a sense of time and place. Each track was built around found sounds that connect to the memory of recording, containing a personal narrative within its nine pieces. Composed between the winter of 2018 and spring of 2019 for Audiobulb.
‘Kochi’ is an immersive, heavily textured ambient album inspired by memories of the Arabian Sea. The four lengthy tracks are all centred around field recordings of Fort Kochi beach in Kochi, a port city in Kerala, South India. The character of the environment is captured in the sounds of lapping waves, birdsong and crow calls, the buzz of fishermen, traders and locals walking in the sand.
These sounds are layered with Indian cowbells and elephant bells, and hypnotic, evolving drones created with a shruti box, melodica and Moog semi-modular analogue synthesizer. Glockenspiel and electric guitar played through a swathe of effects pedals add hypnotic, looping melodic textures and soft, glowing tonal patterns.
Scans is a masterpiece in exactly disconnected electronic music. In Kirk’s words … “Starting from the very first track, Scan One is actually the composition that brought this album’s theme to fruition. In the beginning of the year 2011, I had agreed to get an MRI scan to check for a brain tumor that had been removed twice before (recurrent atypical meningioma). The tumor had returned and plans for a third brain surgery were set into motion. Each of these tracks portrays a particular mental or emotional state throughout the process. From the delivery of the news through the results of the craniotomy; from the radiation treatment’s side effects to the overall issues that arose from this procedure (mild loss of speech/memory, behavioral changes, and simple-partial epileptic seizures with various aura types). Living from one moment to the next, the recovery from this series of events to feeling something close to “normal” has placed the production of this album at the forefront of my mind for several years. To be able to finally produce the sounds and feelings that I’ve wanted to convey as accurately as I can has been a pure joy.
‘The Edges Are All Wrong’ is a collection of tracks over the past 3 years that really began to collect a broader set of memories, emotions, and experiences beyond the negative. Drawn from the mysterious and other-worldly side effects derived from intrusion into the Broca and Wernicke brain regions, ‘The Edges Are All Wrong’ brings forth the flickering lights and hallucinations; the grasp for words that cannot be found and memories lost. The methods of improvisation on a daily basis to appear normal enough to fit into ordinary situations where you know full well that you do not.
The philosophy of improvisation is essential to Flos as it makes the performance an actuality where musicians have to tune in to each other in an unpredictable interplay built around why, step by step, organizes itself or unwinds randomly. Thus, there grows the "flos", the "flower" of music or best perceptible part of musical interaction."
In his second release, ‘In Blue On A Vaporous Sky’, Causeyoufair continues to focus on an acoustic space designed to enable meditation and introspective healing. Between notes, reverb and silence each moment is allowed to be, fade and disappear. The choices of notes catch you when you let yourself go deep into the experience. Of course, everyone will feel it differently but the artist invites you to experience sentimental warmth, sweet dreams and an ambience that carries you away.
Ümlaut is Jeff Düngfelder, a U.S. electronic music composer who is based in Queens, New York. The thematic concepts distinguishing his work are absence and silence; the ineffable exchange between viewer and image; random moments of stillness within a landscape in flux. The listener sets out on a richly layered journey into the unknown. As Rajneesh once said: “Sit very quietly, and when the scenery shifts, slip between it.”
In the First Wave With calming spirit, Ümlaut’s new album “In the First Wave” explores the reciprocity of silence and noise. As an atmospheric sound poem, the breathing spaces between sounds, textures and minimal beats are the blank lines. The in-betweens are important elements. As the album unfolds, the listener will begin to discern language in the spaces. The imagination is sparked. The title, “In the First Wave,” references a beginning - whether to time and space, or discovery of a new way of listening. Imagine yourself in a satellite listening station, tuned into the gradually evolving structures of planetary waves. Regard the album as an electronic shuttle through planetary influences. Imagine. Receive. The mind expands.
“monologue” was born from conversation with the nature around. So, this work might actually be called “dialogue”. I focused on removing all unnecessary elements, so that the form has become more simple and acoustical. Total balance and stillness in human life is my purpose. I hope that some of my work will sneak calmly into the listeners’ mind and cure their heart.
I made this short collection of microsound collages in the early hours of the morning before work. They began to take on a restful dream-like quality which I enhanced by imagining nocturnal scenes, cave systems, caverns, islands, and night skies. The title of the EP makes a tentative reference to Aldous Huxley’s Utopian classic ‘The Island’. I hope that the listener, too is transported to imaginary places of their own and feels rested by this music.
Austin-based composer Mike Vernusky writes music for concert, theatre, dance, and film, primarily using electronic sound and live performance. His works have been called ‘brash’ by the New York Times, ‘isolationist’ by The Wire, 'otherworldly' by New Music USA, and 'étonnante' by the French publication EtherReal.
Mike Vernusky’s new album “MotherSpeak” is a time-compression of the African bush-veld connecting South Africa and Botswana. Consisting of five unique sound worlds, the album takes the listener from being immersed in insects and wind, to swimming with underwater environments and entities, to exposing the intervention of the human hand in nature - finally culminating into a live musical performance in the bush.
• All images and works composed & produced by Mike Vernusky. • Special thanks to Vick Hallet (Melbourne, Australia) and William Mosima (Mmabolela, SA). Additional engineering support courtesy of Steve Ashby (USA/IRL), Sara Retallick (Melbourne), and Nikki Sheth (UK).
MUSIQUE DE FILM is a collection of soundtrack compositions for a series of short films created by me. The films and the sounds exist on 2 planes: first: the sound breathes life into silent images of motion; and second: pure sound invites the listener to conjure his or her own mental imagery. When I create a film, I first strip out all sound. I want to first tell a silent visual story. A point of inspiration is Brian Eno’s song Spider and I: "Spider and I / Sit watching the sky / On our world without sound.” Once my filmic story is complete (my world without sound), I create a complimentary audio world - the soundtrack to this silent world - as stand-alone music. By means of shifting sounds and textures, my goal is to touch upon beauty and emotion, through the use of loop-based repetition, textural nuances, hushed tones and droning backdrops that fade off into considered silence. These swirling masses of sound and beat-less borders transcend, at times, my weightless approach. All the more, if I add industrial noise, this layering process helps to retain the delicate beauty of the sound.
In a way, Scintilla hits the reset button on Formentini's approach to music. The new collection is a solitary investigation, a private walk through intense and yet delicate emotional landscapes. Some of the ideas date back as far as 2008. Formentini would pick them up at opportune moments and work on them in his own time,playing and recording all the instruments at home – with the exception of some field recordings and piano.
As could be expected, many of the pieces explore the polarity between the private and the public. Duende" and "Density of Light", for example, were realised in the studio of his friend Stefano Castagna, who wasn't aware a recording was taking place. Accordingly, the sounds of doors, steps and typewriting discretely merge with Formentini's piano sounds. "To the Seer", on the other hand, is part of a project Formentini has been working on for years: "It's about the way people visiting a museum react to the volume of the rooms and to the works of art on display", he explains, "I like catching the sound of people getting lost, disturbed or challenged while approaching strong works of personal expression. On "To the Seer", for example, I caught someone saying that the place is more beautiful than the artworks in it."
Scintilla translates to sparkle. According to Formentini, it relates to the "small,spontaneous and out of control tiny flashes of light that appear here and there in our lives. It's about using them to help us track our journey, to help us chose our direction." But of course, one could also understand the word to mean something more literal, the flame to a new chapter. Either way, one thing's for sure: This time,the fire is sure to keep burning for a whole lot longer.
Seigo Aoyama is a Japanese musician/composer/sound designer residing in Tokyo. He had been playing the piano since his childhood and started his career in music from 20 years old playing piano & keyboards in many pop, rock and jazz groups.
During his career, he studied classical musical and with a focus on 20th century composers (Debussy, Stravinsky, Cage, Reich and musique concrete). In 2014 he started incorporating field recording into his contemporary, ambient or experimental music. He has released 2 albums and composed music for the other performers.
Entfernung is taken from Seigo Aoyama’s new album “Visible World” which is an expression of his qualia. From his childhood days, he loved to imagine many landscapes, an abstract world in his mind. Using the acoustic piano and electric instruments, he strives to convert these images into music. The work weaves extracts from the external world of sound (factory noise, railroad noise, crowd and conversation) into the album’s narrative. Using them as instruments, the internal world and the external world become visible as one.
DISTANT FIRES BURNING The creative work of Gert De Meester from the town of Battel (A suburb of Mechelen, Belgium, at the confluence of three rivers). Gerts musical outlet always represented a very diverse palette of musical genres. He started out as a bass-player for rock, thrash, funk and pop bands including: The Hindu Needle Trick and The Seven Laws Of Woo. Elsewhere he was creating electronic music under aliases The Mental Attack and Reverend Basstorius' Intergalactic Funk Experience.
In 2007 Gert started to experiment more with ambient and it became clear that Distant Fires Burning was the vehicle for a very personal expression and one in which the bass guitar re-entered as the primary source. Distant Fires Burning is Gert’s expression through bass - enhanced and manipulated to create a very unique and personal sound.
FOR THE LOVE OF… This album has been formed over the past two years and is more centered around the Fender Jazz Bass. Most of the tracks are made entirely with the jazz bass & digital effects. It is ambient, but it has more rhythmic elements in it. There are elements of post rock and subtle psychedelia a sense of flow and exploration.
Each track is made with a deep love and passion for music and the world (closely) around us. The moment an immense feeling was experienced, it was transformed into music. It turned out to be a collection of tracks that represent for the love of ...
Taken from the album Escapism - out now on Audiobulb Records.
Built on soft, endlessly resampled and meticulously constructed soundscapes, the music of ‘Escapism’ treads a path between the heavens of beautiful reverb-soaked pads and the depths, with deep bass accentuating each synth hit that passes through the wide stereo field constructed over the course of eight tracks. The album conveys feelings of melancholy, loss and ecstasy over its course, joining into one extended story that flows from one piece into the next, yet still keeps the listener interested and challenged by offering more than one style to contend with.
Built on soft, endlessly resampled and meticulously constructed soundscapes, the music of ‘Escapism’ treads a path between the heavens of beautiful reverb-soaked pads and the depths, with deep bass accentuating each synth hit that passes through the wide stereo field constructed over the course of eight tracks. The album conveys feelings of melancholy, loss and ecstasy over its course, joining into one extended story that flows from one piece into the next, yet still keeps the listener interested and challenged by offering more than one style to contend with.
I’ve worked on the material for Tiny Fugues for over three years, composing and improvising with the cello and electronic instruments. This album is about searching and finding the unexpected in the everyday. Finding hope and positivity in the midst of despair and depression. Finding the grand and symphonic in simple melodies. Through this search, and our resulting curiosity and compassion for everything around us, I believe we can find hope and meaning in very dark times. This album is based around custom-built software (the fuguelooper) that converts my ambient limprovisations into more rhythmic material, allowing me to change my sounds across octaves and speeds, stretching and compressing my material into unexpected directions. The software works as a lens to highlight unexpected details of my performances and encourages me to react and improvise in new ways. The fuguelooper has been important in my latest improvisations and performances, and it gives these new pieces a dynamically shifting and unpredictable backing. By searching for the extraordinary in what we once thought mundane, we can find connections and meaning. Our art can change our surroundings. Our curiosity and compassion will sustain us. I hope that this album inspires you to do that.
Endless Endless provides an ever expanding organic arrangement space. Artists are invited to send 120 second tracks of ambient audio to Audiobulb. Tracks are mixed alternatively into the start or the end of the piece in a manner that expands Endless Endless.
The 7th version of the project now runs for over two hours.
With thanks to the artists as follows:
monty adkins | the tin box | correspondence | fastus | distant fires burning | man eat fish | model 201 | massimiliano viel | gydja | matt burnett | zumaia | gingerdream | shinichiroa | sonoro | alan courtis | :l | pascal savy | mark harris | madrayken | naoki ishida | robert noize | sleeping echoes | david stevens | mark walters | nay-seven | the oo-ray | adcbicycle | ochre | jeff sampson | billygomberg | effacer | autistici | five step path | ocp | c.cruz | tmns | gintas k | andrew halliday | craque | tom lynn | andrew halliday | john kannenberg | generic | arctic sunrise | zen punk | polyphonic01 | valiska | synopsis decay | katarrhaktes | ugo | closer contact | cloudcycle | listening mirror | noanoa | analog interrupt | andrew russell | kurt lorenz | halo svevo | chair crusher | alphabet dust | fourforty | kwanhn | quiet noise | chelidon frame | walt thisney | russ young | tatsuro kojima | wil bolton
The album “Territory” is a soundtrack for an artwork containing nine images of street walls in Tokyo. The collected street sounds were processed to build a personal utopia, which echoed the sounds of city and imitated the real world. The composer collected all sorts of sounds people produced at streets for six years. Being processed with computers, tuned, given the rhythm, those sounds turned into an unknown audio world. In this album sounds created by numerous people and chaotic industrial noises are orchestrated and fused into modern hybrid rhythm. It presents a path of a pioneer who explores an uncharted field.
Drowner is taken from the EP 'Filled Spaces' - a continuous exploration of a time-phrase. Using a slightly more uptempo approach compared to earlier works, the EP's aim is to work as a whole, where parts and sounds of each song are referencing and reflecting on other parts within a piece. Working with more impulsive sound design the songs are giving a ride to the listener while playing with the arrangement as if it would be an ever-changing storyline of a non-verbal audiobook. Ficture's second EP is meant to be an experience on its own, working in the background but eventually pulling in the listener to be fascinated by the details and raise curiosity by the flow of the story 'Filled Spaces' is describing.
Jules is a new anonymous project. Through the use of different kind of technologies, instruments and attitudes, the project aims to create a mysterious and fantastic author, called Jules, who will propose to the listeners a dreaming atmosphere and persona far from reality, living in exotic and non-existent spatiotemporal dimensions. Jules is the spontaneity of the imagination and storytelling.
Adventures & Explorations (Volume 1) is the first chapter of the Jules's journeys, starting with his first trip and following with an imaginative diving in an oriental landscape. The concept of the album is developed with the intention of keep free every stylistic choice of the project. Jules also decided to leave the product slightly dirty and unfinished.
Imagined like a musical diary of a young adventurer, Adventures & Explorations (Volume 1), is also an attempt to re-insert, in the ambient music, elementary structures of the pop music.
Build Buildings (New York producer Ben Tweel) returns with Glass, a concise and determined 4-song EP of songs that subtly explore time signature, rhythm and song structure, without losing sight of the melody and mood that define his earlier releases. As Textura described the sound, “If there's one thing that primarily distances Tweel's tracks from the clicks'n'cuts tradition, it's his focus on melody and song structure.... There's no shortage of whirr and click within a given Build Buildings piece, but such elements are deployed in the service of the song...that just happens to be assembled from found sounds and treated samples.” These immediately captivating songs do just as well in the living room as in headphones, but close listeners are rewarded. Music nerds may notice polyrhythms, microtones and a gentle disregard for traditional Western 4-bar repetition, but this isn’t music that comes across as “challenging.” Hebei Victory and Honey Locust are melodic mood-setters. Glass explores the rhythms within rhythms that arise from slowly slipping loops. Cedilla’s propulsive, head-nodding beat is written in an Ableton-be-damned 7/8 time signature. Build Buildings is perhaps most well-known these days for providing music for the Gimlet Media podcasts Reply All and StartUp, but his music has also been featured on radio, television and motion picture soundtracks (including NBC’s World of Adventure Sports; National Public Radio’s Radiolab and On the Media; and feature documentary Valley Uprising).
Correspondence is the recording project of Ben Catt, an electronic musician and library worker based in Yorkshire. He previously played guitar in the Leeds noise-pop group Molars (2014-2016) and has recorded solo work extensively under various names for over ten years. Wave Recital is his first full album release following several ‘work in progress’ EPs and cassettes shared via Bandcamp.
Combining MIDI instrumentation, live percussion and field recordings, Wave Recital explores a variety of textures and dynamics over eight instrumental tracks. Each piece is written using a different process-based method (indebted to Steve Reich’s early essays), for example the increasing duration of electric piano and harp notes throughout ‘On Again’ and the gradual unveiling of a three-part marimba phrase on ‘Expanding Cycle’. This carefully structured approach to composition is countered by occasional flashes of noise and unpredictability, exemplified on the album’s lead track ‘Playing Field’ (contained within the confines of the short duration pop song form). Key influences on the sound of Wave Recital include Arthur Russell, Laurie Spiegel, Satoshi Ashikawa, He Can Jog (Audiobulb Records) and Julius Eastman.
WAVE RECITAL “With WAVE RECITAL Ben has recorded the perfect Correspondence album, IMO, in that it’s soft and slow and minimal at times but frequently picks up speed as patterns and loops become more frenetic (but never noisy), seemingly at risk of crashing into one another before dissipating. It’s music to empty the dishwasher to, but it’s also music to give your undivided attention to if you get the chance. Maybe while in the bath or having a lie down on the floor or somewhere comfier, an ideal complement to the silence.” - Steve Carlton, zine writer, musician and librarian (August 2017)
Taken from the album Invisible Kin out now on Audiobulb Records.
Invisible Kin guides the listener on an expedition into the psyche in which successive layers of identity are peeled back to reveal a pantheon of archetypal themes. Spacious ambient backdrops, hypnotic swirling melodies, and fracturing percussive rhythms provide a roadmap to the discovery of synergistic relationships between music and experience. The interplay of melodic architecture and decomposition is a constant theme throughout the album in which the nature of the identity of both the musical arrangements and the listener are explored.
From the album Invisible Kin - released on Audiobulb records 25/09/17. www.audiobulb.com
Tucker Sferro is a Brooklyn-based composer and performer who began his career playing trumpet in live jazz ensembles, moving on to guitar, bass, and electronic music production with various bands throughout the Northeastern US in the late 90s and 2000s. He is known for blending rich and complex synth melodies with layered percussion, cultivating an innovative organic sound through assorted digital processes. Tucker is fascinated with mathematical models of probability and weaves a large component of chance into his compositions and live sets to create music that is constantly evolving.
Invisible Kin guides the listener on an expedition into the psyche in which successive layers of identity are peeled back to reveal a pantheon of archetypal themes. Spacious ambient backdrops, hypnotic swirling melodies, and fracturing percussive rhythms provide a roadmap to the discovery of synergistic relationships between music and experience. The interplay of melodic architecture and decomposition is a constant theme throughout the album in which the nature of the identity of both the musical arrangements and the listener are explored.
'Unbearably beautiful' and a 'post rock treat' (Stool Pigeon) - a sign of things to come later. A hazy summer of field recordings and bedroom productions.
The project has been produced through a framework of Artist-in-Residence program at Hangar in Barcelona, Spain. Inspired by location, experience and memory and motivated by the inversion of the traditional roles of photography and sound in the media and art worlds, Soundreaming emphasizes the importance of the acoustic environment on our memory and perception of place. The Soundreaming album contains a selection of compositions from the audio-visual project with the same title. In the project soundscapes replace photography as the dominant documentary element at the core of the artistic practice. The visual representation is directly inspired by the audio documentation of the locations featured in the archive. Moreover, this technique allows for the transparency of environmental sound to shape the audience’s perception of the artwork and in turn, allows the visual component of the composition more freedom to express itself. More information at: http://soundreaming.org
To help the memory, we usually focus on the things that make sound – a guitar, a telephone, a motor vehicle, whatever – rather than sounds themselves. And the things that make sound usually give sounds their name. In the West we generally have no words that name sounds specifically. There is no word for the sound made by a guitar or a telephone or a motor vehicle, so we have to refer to the object that produced the sound to give the sound a name. And, because of this, people do not talk about sounds, they talk about objects that make sounds; they talk about ‘things’ and, consequently, sounds cease to be sounds and they become things. - Robert Worby / composer & sound artist / BBC