We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.

Wild Breath

by organon contemporaneous

supported by
djonesocp
djonesocp thumbnail
Santo DiPiazza
Santo DiPiazza thumbnail
Mike
Mike thumbnail
themuseumofviralmemory
themuseumofviralmemory thumbnail
Jay Pee Bee
Jay Pee Bee thumbnail
Ray Rischpater, KF6GPE
Ray Rischpater, KF6GPE thumbnail
Richard Algar
Richard Algar thumbnail
Madalyn Moth
Madalyn Moth thumbnail
Chris Fox
Chris Fox thumbnail
/
1.
Wild Breath 1 08:02
2.
Wild Breath 2 05:07
3.
Wild Breath 3 07:00
4.
Wild Breath 4 02:43
5.
Wild Breath 5 02:29
6.
Wild Breath 6 04:43
7.
Wild Breath 7 07:30
8.
Wild Breath 8 01:32
9.
Wild Breath 9 01:43
10.
Wild Breath 10 03:35
11.
Wild Breath 11 19:22
12.
Wild Breath 12 02:20

about

photography by Dan Penschuck (feindesign.de)
design by EMERGE

www.facebook.com/organon-contemporaneous-295119060535892/

---

more releases by organon contemporaneous on attenuation circuit:
emerge.bandcamp.com/album/collapsed-anchors
emerge.bandcamp.com/album/ramshackle

credits

released April 8, 2020

wild breath

Sampling, 'micromontage', and subsequently identifying pitch from objects, which will then be used through virtual instruments. This is how you introduce yourself to the Wild Breath world. Being the result of the process of deconstruction of the compositional act from the visual conceptualization. Which, attempts to communicate the existing language in a solo instrument (the clarinet) designed from an improvised approach. And that explores and cultivates the relationship between the performer and the drawing. In a very particular sound conception.

Conceived from the breath between sounds (the performer's own breath) that intertwines with the vanguard and experimental music. In a subtle approach that explores the action and reaction of the instrumentalist himself to the confluence of space-time. Being in the very duration of its conceptions it is possible to explore the approximations and interlocutions of the electronics. That immancipates the interstices that are confluent of micro-assembly. And that, in turn, allow to observe the intention of the performer himself. In an approach that aims to explore the limits of representation in terms of what the sound body of the instrument itself is.

In an environment that seeks to subject the auditorium itself to appreciate the insurgencies of electroacoustic material. Coupled mainly by their pregnancies in terms of form and matter, such as intensity, frequency and duration that are part of the sound exploration. Spreading the atmospheres and ambiences that break with exactly short intermittences. Of the homophonic discontinuities, indentively highlighted, but in the context of the composition that include different ways of perceiving the same sound. In a circumstance where the tone and interjection of certain different tone types pick up cumulative movements that resize and guide the auditor between segments and morphological threads / time threads. Where the notion of sound prevails above all in the smallest part of its own production.

Being measurable the emergence of something that comes to us from concrete music and has to do with semantic saturation. How the repetition of a particular element leads us to lose its relative significance to its own substance. The meaning predominates as it operates on the sound phenomenon itself. Leading to two phenomena which, in turn, have to do with the distinction of object and its repetition, thus conceiving a denaturalization and transfiguration of the sound source.

Pointing relativity at the level of meanings bringing the symbiosis between meaning and signifier. To the extent that the concrete context as evolution as an ordered and rational object makes the matter remain in which dialectic according to conception faces both the evolutionary navigation of the exaltation of permanent and intangible matter. How does matter remain impenetrable. allowing to characterize the recurrence of the phenomenon of rhythmic periodicity. The composer's intention is treated as an index of origin, distinguishing principles between intentional and unintentional sound objects, in which it is intended to define the entire sound universe in which they can operate.

license

tags

about

attenuation circuit image

attenuation circuit Augsburg, Germany

attenuation circuit - label for experimental music

we accept only submissions for free download releases
attenuation-circuit@web.de

contact / help

Contact attenuation circuit

Streaming and
Download help

Redeem code

Report this album or account

attenuation circuit recommends:

If you like Wild Breath, you may also like:

Bandcamp Daily  your guide to the world of Bandcamp

On Bandcamp Radio

Saxophonist Isaiah Collier chats about his new LP and the influence of Pharoah Sanders.
listen now