The Clock Of Dreams

Out now: “The Clock Of Dreams”, a collaborative album with the wonderful Network 23 from the UK. Three analog sequential frameworks I recorded, filled in by Alan and Simon with an eclectic range of elements, including guitar, samples, loops, and VSTi’s.

https://network23.bandcamp.com/album/the-clock-of-dreams

Audionautic Research Program

Audionautic Research Program was conceptualized in 2008 as a placeholder for experimental space music. The cosmic aspect has carried over, but eleven years later its emphasis lies on long-form live recordings, centered around complex sequential patterns in the vein of the Berlin-school of electronic music.

https://arjenschat.nl/album/audionautic-research-program

Grenzwellen Drei

Out now: “Grenzwellen Drei”, a massive compilation with a boggling 55 tracks featuring artists like Klaus Schulze, Tangerine Dream, Ian Boddy, Hecq, and myself amongst many more. All proceeds will be used for the production of the Grenzwellen radio show, presented by Ecki Stieg and broadcasted on Radio Hannover.

 

https://grenzwellen.bandcamp.com/album/grenzwellen-drei

Al-Amry

“Al-Amry” is a benefit album with ambient music from Mathias Grassow, NODO, Vincent Pierins’ solo project “Kalymorph”, and Arjen Schat. All proceeds are donated to the Unicef program to provide food for the children in Yemen.

http://nsgk.bandcamp.com/album/al-amry-a-benefit-album-for-yemen

Circadian

Concluding this year’s string of monthly releases, I present “Circadian”, an improvisational album of which all three sequential workouts were recorded within one circadian cycle.

https://arjenschat.nl/album/circadian

Arjen Schat | AS

Released under a Creative Commons license, “AS” is a freely available album containing four recorded sessions, exercising my signature sequencing and playing techniques.

https://arjenschat.nl/album/as

LXXIII

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.

https://pspsph.bandcamp.com/album/lxxiii

Tritonian Shores

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.

http://arjenschat.nl/album/tritonian-shores

Carinanevel

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.

 

| n f | n | t e

“| 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.

http://arjenschat.nl/album/n-f-n-t-e