Silicon is the second most abundant element in the Earth’s crust, after Oxygen, the latter being also abundant in the atmosphere. In the periodic table Si is placed just below C and the two elements share many characteristics. Still, Carbon is the basic element for life, and no Silicon-based life has been discovered yet, although Science Fiction novels speculate on this possibility. Still, our simulation of life, A.I. technology (Artificial Intelligence), is largely Silicon-based because microprocessors depend on Silicon and other semiconductor elements, such as Germanium and Gallium, all of these lower neighbors in the periodic table. Their semi-conducting micro-circuitry is etched into them. Silicon makes present-day digital technology possible: our computers, phones, games consoles, our so-called smart household machines, the lot of them contain many elements, but essential is Silicon, and not just as semi-conductor, without which all this technology would not be possible.Continue reading →
Human life burns a lot of fuel, both in our bodies and in our factories, and both emit a lot of carbon dioxide. This is the exact opposite of what algae and plants in general do: plants and algae burn carbon dioxide, emitting oxygen. One wonders why we cannot have more artificial “plants” (this is what we call our factories no less, power plants being an example) burning carbon dioxide instead? This would potentially solve our most urgent environmental problems at a single stroke. As the numbers 2 and 4 are found in our bodies, in patterns of crawling, walking, running, dancing, so the numbers 3 and 5 can be observed in our breathing and heartbeat rhythms. This 5-beat pattern, consisting of a minim and an accented dotted minim, is the rhythmical cell used in the many layers of Ozone’s slowly evolving beat patterns.Continue reading →
Two structural elements that make carbon bring life to our planet are therefore 1) the chains and 2) the cycle. These two structural elements form the base of the originally created modular instrument on which the music of this album was performed. The composition process for the music on this album therefore involved the design and creation of the instrument, of the 7-part music, and the recording of the performance of the music.Continue reading →
The music of Oganesson is a one-part large and slowly evolving sound architecture, monolithic as it were, yet developing. Within this continuous composition, 5 parts each consisting of 5 layers can be discerned, each with a different balance and each with its own composition, but all created of similar, related elements, in similitude to the 5 atoms of the element Oganesson that have been created under laboratory conditions at its discovery, earlier this 21st century.Continue reading →
Hydrogen, being at the beginning of all creation, of all spacetime, of all matter, of all life, required the music, the composition to be like an open projection area for all possible associations during listening. In fact, by selective listening one can discern the simultaneous possibilities for various works all in one.Continue reading →
In Peter Brook’s 1979 film Meetings with Remarkable Men there is a scene in which musicians will attempt to produce a sound that will make the stones of a valley vibrate. In this re-enacting of a famous scene from Gurdieff’s memoires, Kudsi Erguner is one of the musician-actors performing on the screen. In the movie (and in the book), it is in fact a singer that finally succeeds at this, not the Ney. Oneirology 2 can perhaps be regarded as the ultimate attempt to amend this 42-year-old “failure” and enable Erguner’s Ney to finally accomplish this mythical task of producing a music with sounds that will eventually set a complete mountain valley into total vibration, this time in cooperation with van Dillen’s electronics/digitalics.Continue reading →
In our days, the world seems to be coming apart, coming apart again, we may be tempted to think, as humanity seems to have dealt with this before in the past. Indeed, there have been many past ages in which prophets of a kind have proclaimed the end of the world, with solutions offered within the context of their beliefs, mostly irrational solutions to irrational problems. Apocalyptic visions have thus helped establish many a tyrant in history. People that do not distinguish between belief and knowledge are tempted to believe that the current crises modern Science describes are no different from similar historical situations. There are vital differences however, among which the rational nature of the problem descriptions. Most importantly, this time we can objectively observe the crises in progress: today we are facing real and planetary existential threats, not just to ourselves, but to most life.Continue reading →
Myrmecology consists of a variety of simultaneous rhythms, working as polyrhythms, in six proportional tempi. These rhythms make up a variety of cycles by means of moving, changing, and developing, ostinati. Furthermore, these polyrhythms are enhanced by use of both binary (also quaternary at times) and ternary feel, as well as of microtiming. Microtiming is the rhythmic equivalent of the harmonic concept Microtuning, but the first is related to minute but precisely controlled differences in timing. The inspiration for this treatment of rhythm and polyrhythm can be found in various worldwide music traditions originally stemming from the African continent, many of which are using rhythm and (micro)timing as a means of emotional expression, as opposed to other traditions using (micro)tuning systems and/or harmony for emotional expression. Rhythm in this way becomes a polyphony in its own right, and in Myrmecology this is explored, over its two hours duration.Continue reading →
The title Elude is derived from the verb to elude = to avoid cunningly or adroitly (Penguin Reference 2001), which has as noun the word elusion. However, the composer chose to create for this music the new noun Elude, in assonance to Prelude and words like it, such as Postlude, Interlude etc. Therefore, as pre-lude means fore-play, inter-lude in-between-play, and post-lude means after-play, thus e-lude means outside-play. This music plays outside of and around tonal, modal and atonal systems, even outside a single style, and enters and leaves such musics at will, never completely bound to each set of formulas and conventions. It is precisely therefore that there are 12, each in its unique key signature, and not 24, as in keys (major and minor set apart), as is the case in similar keyboard collections by Bach, Chopin and Shostakovich. The 12 Eludes each have their own way of playing outside of mode and key, using a simple, technically mostly 2-voice based, setting.Continue reading →
The source of the sounds one hears on this album is the very recently developed chaotic oscillator synthesizer Generate by Newfangled Audio, a very complex instrument, at times difficult to control precisely, at other times, in many simultaneous complex instances, threatening to overload the computer, and behaving unpredictably. Some of the unexpected side effects of the complex sound synthesis have been preserved in the end result. A small palette of carefully self-built just manageable sounds (patches) has been used in all three compositions. The complex sound sometimes resembles “real instruments” such as cello, trombone and (contra)bassoon, or bass clarinet, but this is an illusion, as can be heard when it moves through various registers: these are all purely synthetic sounds.Continue reading →
Listening to this music by van Dillen resembles entering a sound exhibition, the composition presents itself to the listener as a kind of sculpture, but not to be viewed from the outside, but to be heard and experienced from the inside. A sculpture maybe, but not in the sense of presenting itself as an object to a subjective listener to be viewed while moving around it, but as a subject moving around the listener thus turning the listener into an object, even an object of scrutiny too perhaps. One finds oneself in a large musical form, a large timespan, surrounded by slow changes of and within a many layered sounding substance. Sound objects and substance float by, partly in a predictable (slow transitions) and partly in an unpredictable (sudden events) manner. The sounds, the polychromatic, also microtonal, elements chosen, are mostly subtle and generally varied, but at the same time strictly limited to the precisely chosen palette of timbres. The silences embedded are integral part of the work and not to be seen as mere breaks between sections: in the silences, the music continues unbroken.Continue reading →
Genomes takes the idea behind Pulsations (from Dronescape 1) to a next level, distilling a far greater variety of sounds from the very same core samples which resembled heartbeats. It is solely composed of rhythmically used elements. The listener enters a hypnotic timescape, possibly evoking the inner sounds of some primeval soup containing amino acids, rhythmically bubbling, but then again a scraping breath is heard, and later some mechanical sounds, the latter probably referring to a less distant time.
Emanations is composed from a set of 9 chords recorded on a Yamaha CFX concert grand piano, with various tunings, playing techniques, and recording positions. As to the latter, some chords were recorded with microphones close (close miked) and others distant with a more room sound, with more distant microphones. The full set of chords was recorded both una corda and tre corde.