Performed live on stillstream.fm Mother's Day evening May 10, 2015 using midi controller, Linux, Hackintosh, field recordings and various samples. Music fashioned using the buddhalizer --a virtual extension of my imagination.
All Grove of Whispers performances are improvised. Nothing is ever planned or orchestrated. Somehow, sometimes it works out. Somehow usually it works out.
Dedicated to my mother Margaret Pelaitai. Thank you for always being there. I love you mom.
I feel that the surrealists have created a series of valid external landscapes which have their direct correspondences within our own minds.
HARSH MACHINES es el resultado de un proceso creativo entre los autores que empieza en el trabajo de campo que realiza Atilio Doreste, y el posterior feedback electrónico de José Guillén, por medio de procesos digitales del audio original. El punto de partida es siempre lo que podemos llamar un suceso fonográfico enfocado hace la parte menos amable del un mecanismo cotidiano. El lado áspero de la máquina se interpreta desde su potencial expresivo, para llevarlo a un extremo de excitación sonora compleja, y de múltiples capas. Son artefactos resonantes que enfrentan al lado oscuro de cada mecanismo, para transmutarlo en un estado anímico diferente o, al menos, extrañado.
Es así que HELLO WORLD interpreta el sistema electrónico de los ascensores de un centro comercial; OPEN LOOP explota hasta lo excéntrico, el tránsito vibratorio de las vías de tren en el extrarradio de una gran ciudad; INOPERATIVE INTERFACES explora la complejidad sonora de un cuarto de una universidad en el que funcionan cientos de ordenadores en la realización de cálculos de investigaciones científicas online, BACKFED PARASITES acomete el desarrollo de las señales hacia un Smartphone que transmite un pequeño amplificador que es invadido por interferencias en retroalimentación.
Mayo de 2015 en las Islas Canarias.
Quote=I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity.
Scott Lawlor, ambient musician and host of The Blind Flight podcast, brings his track "He thrusts his fists against the posts and still insists he sees the ghosts" to buddhist on fire. A long form organ drone.
From time to time I heard the sound of words, and marked a difference. Because until then, I realized, the words I had heard had been silent. There had been no sound, I had sensed them. But silently, the way you hear words in your dreams.
CDRX a citizen of Elgaland-Vargaland began making music in 1996. He started as Cereal Killer and does audio manipulation and mixes using sound bites, field recordings, loops, distortions and harsh noise. CDRX has created and released a number of cds via his own label Bad For Health Records. "I listen to a lot of industrial, ambient and concrete music but also metal, folk and pop."
He takes his inspiration from the likes of Nurse With Wound, Pierre Henry, Final and Aidan Baker and many more.
Because today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups...So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.
- Philip K. Dick, How To Build A Universe That Doesn't Fall Apart Two Days Later (1978)
I particularly admire Anastasia Vronski's release "The Kursk". It has a dark, murky crunchy sound that is very inspiring for me. I asked her if she wouldn't mind contributing a similar track and for a split release with Grove of Whispers. She sent me her track "The Ice-Breaker" and some months later when reviewing a Grove of Whispers performance I realized "oh, this is the companion piece for Anastasia's The Ice-Breaker!"
I hope you enjoy it as I do. Thank you Anastasia Vronski for your inspiration.
...the distinction between past, present, and future is only a stubbornly persistent illusion.
The latest from Lezet. An experimental music project from Serbia. http://lezet.blogspot.com/ http://myspace.com/Lezet1 http://myspace.com/lezetmeld. Pozega,Serbia
The tracks on this EP are in themselves a form of musical accumulation- they are linear and gather different sound elements of disparate sonic quality as they progress, somehow lending themselves to a unified body of music.
I want to thank my students (#04),my neighbours (#08), a street gusle player (#07) and the rain that almost flooded my entire country (#06) for providing the accompanying sounds for this album.And a big thank-you to my dear friend Ken for making a brilliant remix (#03)
The thick fog enveloped his figure, a lonely form on a bridge overlooking the river below his feet.
The afterlife, it had to be better than this.
When had his descent into darkness begun? Had it always been there?
Whispering to him hauntingly, beckoning him to embrace it.
Desolate in the dark, surrounded by nothing but regret.
Wrong turns, the steps that seemed to go nowhere, climbing aimlessly.
Out of focus, feeling that there was something more but wondering, yes wondering how to obtain it, and if he could, maybe there would be hope.
Now just the bridge, in the city shrouded in fog.
A faint scent of perfume and then soft footfalls.
A delicate hand on his shoulder, and a whisper: "a dream of beauty is an illusion in a life of loss".
People have a lot more of the unknown than the known in their minds. The unknown is great; it's like the darkness. Nobody made that. It just happens.
The Night Land was performed live on stillstream.com March 17, 2013. Done using midi controller, Linux and public domain field recordings. Music fashioned using the buddhalizer --a virtual extension of the imagination.
Several variations were re-imagined over the following months. This is the original performance.
Looking back on it now I can see this was a key performance in the evolution of Grove of Whispers. Everything seems to turn inside out. What sounded like synthesizers could be field recordings, while that which sounds like field recordings (the wind for example) is completely synthesized.
Everything here is fashioned algorithmically or from field recordings (including a washer machine), some of which was processed via spectral manipulation into drones.
I had started along this path with the idea of using my own field recordings: manipulating, processing, abstracting them from their sources. Along the way I found that using other people's field recordings was (at least for grove) an essential part of this process of abstraction. Somehow when the recordings are mine I'm just too close to hear them in the way I need to.
When I heard this played back I thought "well that's nice, but I could do it better", what I learned from trying was to respect what happens in that moment of performance. This is one of those moments. I hope you enjoy it.
Always, it seemed to me when I awaked into the Future, into the Everlasting Night that lapped this world, that I saw near to me, and girdling me all about, a blurred greyness. And presently this, the greyness, would clear and fade from about me, even as a dusky cloud, and I would look out upon a world of darkness, lit here and there with strange sights. And with my waking into that Future, I waked not to ignorance; but to a full knowledge of those things which lit the Night Land; even as a man wakes from sleep each morning, and knows immediately he wakes, the names and knowledge of the Time which has bred him, and in which he lives. And the same while, a knowledge I had, as it were sub-conscious, of this Present—this early life, which now I live so utterly alone.
All sounds invoked by Luciftias
Basic tracks recorded at Ritual Xul on 15 May 2011
Additional editing performed on 1 October 2013
No keyboards were used in this recording
Live sounds constructed with electric guitar & eBow with various effects
Post production utilized additional effects treatments & time stretching
They who dream by day are cognizant of many things which escape those who dream only by night.