I’m very excited (and somehow nervous) to finally be able to post this update! It’s my first proper album, the culmination of 5 years of work. I’ve made this a pre-order for now, because I need to finish assembling the tapes (yes a small run of tapes with Risograph-printed covers is coming!) and a few other things. It will be released December 4, 2020.
intimate spaces (just a working title) is a project I have started a long time ago and which initially wanted to be an exploration of “uninhabitable architectonic spaces, through field recording”. In the meantime the concept has evolved a bit and I’ve finally found a process that makes sense to me and for this project.
cavaedium II is the second part of a longer more droney piece, based on recordings made over the years in my old flat’s cavaedium (which is basically a shaft inside big buildings and has the aim to bring air and light into the rooms that are on the inside, and otherwise would be windowless ones)
My approach is basically the same for all the pieces in the project: create the basic structure using field recordings, which have all been recorded in the same space, then process these with the modular and add some minor synthesis elements to enhance, emphasize or otherwise expand on what is already there (for example the cavaedium, that I tood the sounds in the above video from, had a clear Db sound deriving from the comb filters present in it, so in cavaedium I I’ve based all the synthesis parts on a Db Maj scale in the beginning and end sections and on C min in the middle section). The pieces are very much a dialogue between the concrete, sample-based part and the synthesis and modular-based sound-shaping part.
Other pieces I’m working on are made using recordings from inside of a newly built-bridge and from a service room below a swimming pool.
In this second part of cavaedium, instead of layering the field recordings in their full (or almost full) length, as I did in part I and in other pieces for this album, I did cut them up into small bits creating a more percussive sequence (on the Octatrack, which is hidden outside of the image since the room is too small and I could not put the camera further away).
Some more technical notes: Starting from this percussive part, I have sent some of the tracks from the OT to the modular using it to excite Rings (which makes the percussive bassline, filtered and shaped by Natural Gate) and to trigger some modulations on Stages. Marbles does the pattern for the Rings bassline and generates random ramps to modulate several parameters in the patch. Plaits generates the main drone, towards the end there’s an additional bass sequence somehow drowned in the drone which is sequenced via Teletype and played by Tides.