Following my two-hour sections on a previous split album with Brian Grainger, I have returned to Psøma Psi Phi with a solo release. After some urging by Brian to expand on an improvisation I did with my Rhodes electric piano (which was released as part of a charity compilation: https://meganmccarthy.bandcamp.com/album/3067-megs), I sat down in front of the piano for almost an hour and ended up recording my most intimate ambient piece to date.
This album is an aural imagination of distant galactic scapes. “Néphos” is a collage of various sound designs, some more abstract than others, whereas the title track is a 53-minute soundscape with a dronal emphasis.
New podcast for Circles & Spheres, containing various recordings I did in the past four years, some of which unreleased.
The podcast was recorded using an iPad Pro running Traktor + NI Kontrol Z1.
Since the start of this year I try to release something every first of the month through various projects. Five months in, it is time for another Ohrwert EP. “Twelfth Reduct” takes a cosmic spin with two brand new recordings, partly inspired by my sequential music released as Arjen Schat.
Ten years ago today, Dirk Troost (Nano.strike) and I recorded our longest cosmic journey to date under our collaborative name “Elektronikum Ltd”.
“Carinanevel” clocks well over an hour, and was recorded in my former studio “The Foundry” using a double Moog Little Phatty setup and Dirk’s Roland Juno-106, along with a Korg MS2000 and a bunch of Moogerfoogers.
In 2013 I did a remaster for private purposes, but it only seems fitting to make that available for download to celebrate the ten year anniversary.
A transcendental electronic music experience that has a coherence with idm, electro, and contains some elements of early jungle music. But all tracks have a common divisor, they are all ‘made of amber’.
These tracks have been meticulously arranged and produced in order to make the best music I can, without musical constraints or boundaries defined by genres. The recording process took nine months in total, weeks were spent on tweaking and adjusting a song until it sounded finished to me. Each song had to have a perpetual momentum, a certain energy from start to finish. This dedication to sound and arrangement has led to a style of producing that suited me really well, being somewhat of a perfectionist and attentive to details, I was able to put all of my creative energy into this album.
Recently I was asked to do an interview for Almo’s Music Blog. Almo, or Ethan, is a longtime listener and supporter of my music. His puzzle game “Cognizer” for iOS and Android features a remastered version of my 2008 Ohrwert EP “Cygnus Loop”. Through his excellent questions I was able to share some insight in the steps I take as a musician, my influences, and how I have approached certain projects. You can read the full interview here: Almo’s Music Blog.
Lately I have been updating the website with new content, I want to use it as a centralized hub to publish news and information about all of my projects, instead of just using it as a placeholder for Ohrwert. After streamlining the links and adding a proper contact form, I have added my full discography. I used to keep a note on my Facebook profile on every album, appearance, or remix, to keep an overview of how much music I actually release. The new discography includes links to every release, and is neatly sorted per year.
“| n f | n | t e” allows you to dive into the evocative world of soundscapes and meditative drones. Slow down your pace of life with these five pieces, clocked at around 30 minutes each, carefully sculptured to alter the perception of time and space.
Inspired by a 53-minute electric piano piece I recorded for Psoma Psi Phi, I decided to record another piece with just the reverberated signal of my trusty Rhodes. This approach drastically changed the dynamic of how I play and kept me longing for the wonderful harmonics that were accumulating in the reflections of the reverb. Then I applied the same technique whilst playing on my Waldorf Blofeld. This created a similar result, but with wavetable synthesis and aftertouch added to the equation it allowed for even more expression. Now imagine all of this being stochastically automated and sequenced with a quantized transposition modulation. Fancy words for me engineering the music in such a manner that I only have to synthesize the sound, and press record and stop. Finally, I took it a step further and processed pre-recorded sequences by manipulating its duration on a granular level so that it has similar dynamic features as the live takes, but not a single note was actually played live.
Ten years after the Reduct series was launched as an audio blog (ohrwert.blogspot.com), the series is continuing on Bandcamp. Since “Tenth”, the closing album of Reduct 1 to 9, many releases have seen the light of day through different labels and formats all over the world. Now it is time to go back to the original format, in 24bit/48kHz quality.
“Eleventh Reduct” is the remnant of a series of tracks I have produced in 2015. Though never released as a whole, the other tracks have found a home on different labels. “Ordior” was released on Grounded In Humanity’s “DNA Sequence Vol. 2” compilation CD, and “Blavus” and Fidelis” have recently been released on vinyl on Grad_u’s label Greyscale, including remixes of “Blavus” from XDB and Aleksandr himself (scale-limited.bandcamp.com/album/fidelis-blavus).
Soundwise, things have changed over the years. Albums like “Intueri” are a showcase of a new direction. A direction that resulted from club-based live performances, which can hold its ground in the deep end, but is obviously dance-oriented. “Eleventh Reduct” is no exception to that sound, a signature Ohrwert dub flavor with more substance and solid drum grooves.