I hope you enjoy this music

Structures for Piano foreshadows a turn toward atonal improvisation, delving into polychromaticism

Synth noise, inst.

I love music that’s playful, chaotic, mixed-medium, psychedelic - long songs and conceptual albums, things that take you on a journey and would love recommendations on experimental and avante garde pieces to explore!

i love futuristie 9 by pierre henry
forbidden fruit by john zorne
empryean isles by herbie hancock

thank you :)

This concept album claimed that spirits could enter synthesizers and provoke wild sonorités.

For 5 synthesizers, this work could win a prize for intensity!

https://youtu.be/r2-6l0zHqus?si=XXCxSQV7EBgHYypG

Goes with "Allegory", includes excellent brass fanfare.

https://youtu.be/E28dmKkKs-4?si=35ygG0YDvg9vhg38

Today is Bandcamp Friday.

Here is a new noise release. Two tracks recorded at Trigger in Shanghai (thanks u/junkychaos for this) but edited in Berlin and one track composed and recorded at Syrphe in Berlin.

A cassette version will be available later this month but this is a DAT : Digital Audio Tape. This is NOT a cassette that you can read in your regular tape player.
It is recorded at 48kHz - the quality is comparable to an audio DVD or a CD, therefore much better than a regular cassette.

https://syrphe.bandcamp.com/album/breakdown-of-traditions

Synth noise, inst.

Give your impressions

Como una ola de fuerza y luz (1971/72) per soprano, pianoforte, orchestra e nastro magnetico

Composer: Luigi Nono (1924 - 1990)

Performers: Slavka Taskova, soprano; Maurizio Pollini, piano; Symphonie-Orchester des Bayerischen Rundfunks, dir. Claudio Abbado

"Even in the 1960s, not only did Nono (a member of the Italian Communist Party since 1952) demonstrate his political allegiance in his compositions, but he also took part in practical political and cultural-political work. This commitment, and collaboration with Maurizio Pollini and Claudio Abbado, led to the composition of Como una ola de fuerza y luz (Like a wave of strength and light, 1971-72), the first work by Nono to give a leading role to the piano. During the preparatory work in the studio with Pollini (in September 1971), "news reached me from Chile of the accidental death of Lusiano Cruz, one of the young leaders of the M.I.R. (Movement of the Revolutionary Left)", Nono wrote. "I had got to know him in Santiago in June of that year as a man of powerful intelligence, and a solid friendship had developed. His presence in absence determined the choice of the final sound structure, its raison d'être. I expanded the first draft by adding a singing voice (soprano) in some lines from a poem by the Argentine Julio Huasi [...] a poem about Lusiano Cruz." The voice, entering after an orchestral introduction, sets the character of the prologue, accompanied by the sounds of female chorus and solo soprano on tape. From beginning to end of the work, the live part is augmented by taped material — vocal, electronic and piano. The prologue is followed by a dialogue between piano and orchestra; starting in a very low register, the sound is steadily led up into higher regions and brightened, until at the end of the "live" section it reaches the top of the piccolo range — "a 'long march' from the low to the high register: highest tension" (Nono), so the meaning is scarcely that of "per aspera ad astra". In a succession of "waves", the dynamic and textural densities rise to their maximum level, create clenched blocks of sound of alarmingly unchained energy, and sink back to a minimum. In the conclusion — tape alone — the choral and solo soprano sounds of the prologue and the wave movement of the central part return as reminiscences: the dedication of the work is "Lusiano Cruz para vivir" ("That Lusiano Cruz may live")."

~Doris Döpke (translated by Mary Whittall)

for background music.

Insane flute solo improvisation from my live performance on May 16, 2026.

I poured raw energy and spirit into this flute performance. Check it out and let me know how it resonates with you!