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Wild Breath

by organon contemporaneous

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



more releases by organon contemporaneous on attenuation circuit:


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.




attenuation circuit Augsburg, Germany

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