Some acousmatic works
Binaural renderings (use headphones!)
Travelling Without Moving is a journey in acousmatic composed spaces and environments, from granular rainy textures to sonic trajectories circling around the listener. The concepts of "journey" and "motion" are investigated musically: the experience "moves" between soundscapes, leading to always-changing sonic worlds, both from the spectral and spatial perspectives. The piece was inspired by natural soundscapes of Stockholm, where it was written, but it also influenced by the nostalgia of a distant home: this is where the mind travels, even though it is not really moving. The piece was originally written for the 29.4 Lilla Salen partial-dome system in the Royal College of Music in Stockholm, and its conception and development were Ambisonics based.
Tides is the author’s reflection on waves, both in the spatial and in the spectral domain. The succession of waves, their rhythmic movement, their spatial motion and their granularity shape the narrative of the composition. The listeners are transported in a place where waves and tides follow and chase each other, dancing in a fugue-like counterpoint, up until no sound can be heard on the shore.
Klingeln is a tactile acousmatic exploration of granular and metallic sounds. In fact the aim of the composition is to link the sense of touch to the perception of sound. Most of the musical object come from the same source: a plucked, ringing knife. Through tape manipulation techniques, algorithmic sequencing, granular synthesis and multichannel spatialisation, the listeners are brought in a world of micro sounds, shiny and metallic resonance within a changin spatial environment.
Lungz is an acousmatic binaural journey that explores the manipulation of noise. It was made specifically for a binaural or multichannel format, where the spatial component is crucial. It is mostly made from noisy sounds and noise injected into resonators such as flutes or physical models: the composition also takes advantage of granular synthesis and pre-recorded material. As a contrast, rhythmic granular textures and the softer filtered noise are compared, in order to create algorithmic phrases and musical discourses. Its aim is to link noise to human sensations like touch or breathing cold air. By shaping complex material through electronic or physical instruments, spatialisation and microsound, the listeners are taken into different spatial environments, where they are touched and surrounded by noise, even feel it in their lungs. In times when it's easy to feel suffocated, Lungz expresses the composer's need to breathe deeply once again in these trying times.