IMMERSION III - Jonathan Fitoussi

Stretta : Holocene

Bitchin Bajas

Art électronique

The Bowed Piano Ensemble perform Stephen Scott's Entrada

Ennio Morricone (Trio Junior) - Fruscio Di Foglie Verdi (Cantato)

Intro to Synthesis

Suzanne Ciani - Second Breath

Live on Soundcheck: Colin Stetson

Elektronmusikstudion EMS Stockholm

http://www.elektronmusikstudion.se/

Moon Duo - Sleepwalker

Alchemists Of Sound

Peter Michael Hamel - Colours of Time (Part 1A, 1979)

Peter Michael Hamel - Colours of Time (part 1B, 1979)

Jonathan Fitoussi - Pluralis

Vidéo by Sabrina Ratte
Music by Jonathan Fitoussi

"Pluralis" taken from the album "Pluralis" (Pan European Recording)

From his electro-acoustic laboratory, Jonathan Fitoussi takes us on Pluralis, crystalline musical star of eternal cycles. Travel in the light of mysterious stars from dark forest to ivory continents, from magnetic fields to sound oceans of unfathomable echoes...

PAN010

www.paneuropeanrecording.com

Hubble : Hubble’s Hubble

music : Hubble/Hubble’s Hubble
video : Nasa

Canadian Electronic Ensemble (The Music of Man documentary)

Bleu Nuit //Music : Le révélateur;Vidéo: Sabrina Ratté

BLEU NUIT from Sabrina Ratté on Vimeo.

Bleu Nuit is a track from Le Révélateur's LP on Gneiss Things, Fictions.

Jürgen Müller - Sea Bed Meditation

Jürgen Müller was a self-taught amateur musician who, while studying oceanic science at the University of Kiel, purchased some electronic instruments and set up a mobile studio on his house boat, docked along the town of Heikendorf, on the North Sea. He held a life-long fascination with the ocean, the expansive and endless inner-space of the deep, where he felt many ecological miracles had yet to be discovered, and which kindled a love for the unknown. This love of all things nautical started early in his youth and eventually led him to study the oceanic sciences.

For one week in 1979 Jürgen took up with a film crew on a mission to document some sea-water toxicity testing that was being performed by a couple of notable biologists, only a few kilometers off the shore. This was to air as a special later to be viewed in universities. Jürgen went to take notes for a course, but soon found himself instead moved by the surroundings more in an artistically inspired sense than a scientific one. He found the mystery and romance of the great seas to be quite moving, and then decided rather abruptly that he would make music to capture this feeling.

Utilizing only a handful of barely-remembered childhood piano lessons, Jürgen set about creating his marine-influenced vignettes with some electronic instruments he had gathered through friends, as well as borrowing some new equipment from a local school’s music department. As a general music lover, earlier in the '70s he had taken note of several avant garde electronic composers who he felt simultaneously captured a purity of sound and sense of wonder that was lacking in other music. He dreamt of fusing this ideal with the synthetic recreations of nature. In a sense, one could say he stumbled onto an early “new age” aesthetic through pure ignorance and coincidence. Mixing relaxing ambient tones and spooky otherworldly sounds, he came up with a unique approach. After filling several reels of home recordings he held ambitions of becoming a film composer. He decided to start his own publishing company, Neue Wissenschaft, and hoped to compose albums in order to sell as production music to various film companies for use in documentaries and television programs. As he was simultaneously hard at work on his studies to finish school, he had to work on his music in short intervals, and often had to put it aside altogether. As a result, it took several years for him to actually realize his sole full-length recording, Science of the Sea, the sessions for which began in late 1981, before finishing a year later.

C. CHRISTER HENNIX The Electric Harpsichord

out on Die Schachtel's the 1976 largely neglected masterpiece from Swedish-born composer Catherine Christer Hennix, a disciple of LaMonte Young and Pandit Pran Nath during the 1970s.