released 15 March 2013
original track written and produced by leonardo rosado.
audio mastering and sleeve design by stefano guzzetti at waves on canvas.
photography by richard outram
wave 1302. march 2013
a pure wave recordings release
from the forthcoming cd album 'washed away memories' (wave 1303. may 2013).
Leonardo Rosado’s main musical focus explores the collision between sound, poetry and everyday life by using automatic expressions what he likes to call – wordsoundscapes. The construction of his music pieces expose daily life happenings that are individual and at the same time universal: it has a strong sense of suggesting a pause to think about our actions and our surroundings. Words and sounds have different meanings, depending on the listener, but only if s/he takes some time to delve into the complexity of his or her own stimuli.
Released albums include:
Dream on ep at Audiogourmet netlabel
Opaque Glitter at FeedbackLoop Label
Dear and Unfamiliar in collaboration with birds of passage at Denovali Records
Mute Words at Heart and Soul Publishers
The Blue Nature of Everyday self released
A long white sleep ep at Laverna
I am an electronic music composer who lives and works in London (UK). I started experimenting with sequencers and synthesisers in the late nineties influenced by Detroit techno, recording my output on tapes and mini-discs. Nowadays I create organic ambient and drone music, as a way to reflect on beauty, erosion and decay. My work combines acoustic sources with electronic tones generated by analogue and FM synthesisers. My compositions often involve dense atmospheres and hidden, distant or floating melodies, where field recordings act as a subtle counter-point. I am also a contributor to on-line magazine Fluid Radio, for which I regularly writes about experimental music (albums, concerts, interviews).
Martin A. Smith
Martin A. Smith is a composer and artist whose work is concerned with the creation of atmosphere rather than of form, melody or rhythm, of creating an environment through subtle and harmonious changes rather than through force.
About Fragments Of An Absent Summer
For years I have had this recurring image in my mind of a large rusting ship trapped in the ice. I do not know where this memory comes from, possibly from a story or image I saw when young. This is the soundtrack to this image.
Mikael Hansson started making music as colab in 1985 in a sleepy suburb of Stockholm, Sweden, when he experimented with recording their Roland SH-5 and synced TB-303/TR-606 pair on a two-track Fostex with tape delay.
The early sounds were raw and industrial, and since then colab has evolved into a blend of sleepy nostalgia and northern melancholy.
These days Mikael releases music as colab and through collaborations such as Ghosts, Inc. and Their Other Band, and through remixes/reproductions of other artists’ music from his home studio in Toronto, Canada.
Guy Birkin is a musician, visual artist and researcher based in Nottingham, UK. His work is influenced by experience working as a scientist in industry and education, and by his academic research into complexity in visual art and music. The focus of his current music is the production and perception of musical patterns and processes.
About Fragments Of An Absent Summer
This re-working is based the memory of a party in the countryside one Summer, with a sound system in a marquee by a big house. That night, outside on the lawn, the intro to Sweet Dreams by the Eurythmics reached out from. The distant, muffled sound of the bassline grew clearer as we ran down the steps and went to dance.
A MIDI version of the bassline from Sweet Dreams provided the starting point for this track. This is slowed down to a quarter of the original tempo and offset to the beat to createa dubby feel. The original track was processed with granular synthesis and Fourier resynthesis, and mixed with the synth bassline. The rhythmic sounds and 'melody' fade in, as it sounds when you approach music from far away and it gradually becomes clearer.
I am a Chicago based musician working with guitar, effects and laptop to create abstract ambient music that is both minimal and dense. My main focus has been the interaction of sounds/notes with themselves. When I began playing guitar at the age of 17 I practiced this idea using solo guitar and a simple delay, influenced by the guitar playing of The Edge (from U2). After a few years I was finally able to afford a simple 4-track and I began exploring the effect of layering guitars and adjusting the tape speed to produce interference and dissonance. It was at this point I started listening to the music of Glen Branca and Rhys Chatham and could hear the beauty that was an ensemble of guitars, where the whole ensemble was a large instrument that stopped sounding like a guitar. With only the use of delay, layering and distortion I attempt to make a lot of guitars no longer sound like guitars. I have avoided the use of MIDI patches/samples and advanced software like Max/MSP mostly because I would rather spend my time playing guitar than learning to program. I like to call this minimal dense music for that reason.
After a childhood studying classical piano, Jay Bodley made a turn toward electronic music in 1999. Beginning enthusiastically in experimental hip-hop, he became interested in drone-leaning electronic music around 2004 and became a part of the Moodgadget Records roster shortly thereafter. Recording as A Setting Sun, he has released two full-lengths (2008 & 2011), two EPs (2007 & 2010) and a remix collection (2010) with the label, the latter featuring the likes of Aidan Baker, Benoît Pioulard and Giuseppe Ielasi. 2010 saw the beginning of a fruitful ongoing collaboration with fellow sound artist Radere.
As Sun Hammer, he has broadened his sound to include strong influence from glitch, digital minimalism, noise, and bass music, while revisiting the elements of drone that have made previous releases successful as documents of sound art. He has released remixes for artists on Ghostly International, Hyperdub, Moteer, Lost Tribe Sound, and Moodgadget, contributed to the popular Futuresequence-curated SEQUENCE compilations, dabbled in digital art and design, and done sound design, post-production and musical score for films, documentaries and awareness pieces.
Sun Hammer DJ sets typically include a widely varied selection of artists and genres, drawing from hip-hop, bass music, classical and folk in addition to drone, glitch and noise. Live sets tend to be much more minimal and drawn out, incorporating elements from previous recordings arranged in new ways, presenting something familiar in a new context. These sets tend to be sparse, allowing each element more space to breath and to expose its subtleties.