FMDS | Aug 24 2024 | 464 MB
亚历山大·帕诺斯的音乐与自然的随机性交织在一起，试图调和一个人在世界上的存在，经常讨论渴望和成为的机制。这体现在一种基于拼贴的作曲方法上，这种方法植根于民谣和电子乐等流派，但形式上是声学的。他来之不易的首张专辑《新生》在许多电子音乐领域受到好评，他革命性的“彩色传输”Max Live设备已成为许多人的主要工具。“我非常关心没有边界的声音的内在美，以及它作为情感渠道的特性。我发现自己在Max/MSP中创建系统是作为即兴声音设计过程的一部分，虽然是技术性的，但基本上是手势。“湖岸后像”充满了这些探索的结果。就像我的许多音乐一样，它的声音灵感来自于我经常交流的郁郁葱葱的沿海空间。”一旦太阳落山，就会有一种感觉，深蓝色的天空与湖面的地平线融为一体，形成了难以区分的边界。这是一种无形的痛苦——诱人，难以形容。该包的策划反映了这一点。你会发现许多纹理和短语不受时间的限制，模仿自然的动态模式。”从他手工制作的和声器上闪闪发光的共振线到他震撼的声学手势，他提供这些声音是希望它们能帮助其他人发挥他们的实验潜力。
Intertwined with the stochasticity of nature, the music of Alexander Panos attempts to reconcile one’s being in the world, often discussing the mechanisms of longing and becoming. This has manifested in a collage-based approach to composition which is rooted in genres such as folk and electronica yet acousmatic in form. The hard-won release of his debut album ‘Nascent’ was met with acclaim across many spheres of electronic music, and his revolutionary ‘Color Transfer’ Max for Live devices have become staple tools for many.“I care deeply about the inherent beauty of a sound without borders and its properties as a conduit for emotion. I find myself building systems in Max/MSP as part of an improvisatory sound design process that, while technical, is fundamentally gestural. ‘Lakeshore Afterimage’ is filled with the results of these explorations. Like much of my music, its sounds are inspired by the lush littoral spaces I often commune with.” Once the sun sets, there’s a feeling that arises as the deep azure sky merges with the lake’s horizon, creating an indistinguishable boundary. It’s a formless kind of ache—alluring and difficult to describe. The pack was curated to reflect this. You’ll find many textures and phrases unfettered by metered time, mimicking the dynamic patterns of nature.”From the gleaming formants of his handcrafted harmonizer to his shattering acousmatic gestures, he offers these sounds in hopes they will help others let flow their potential for experimentation.
