Audio
Students in 呻吟之王's Music Technology programmes can pursue and develop their own compositional interests in their creative work while being introduced to wide range of new musics from which to draw inspiration. As a result, students can contribute to, be enriched by and ultimately enjoy a highly eclectic musical culture, collectively producing music in a rich variety of styles.
The piece sounds as if it is composed of various sonic layers, which wash off sequentially. Each layer undergoes a process of transformation and decomposition, thus creating a place for the next.
Part of a project integrating hip hop influences and jazz samples
A multi-tempo, energetic post-punk track created to provide a pointed political message
A dream-like, idyllic soundtrack that evokes a bee flying around searching for pollen
An experimental IDM-focused work combining soundscape recordings with electronic glitch techniques
Audio-documentary composition evoking aspects of dementia, through stories about growing up during and after the Blitz
Improvised electronic material post-produced and incorporated within a 'mixtape' context
A track from a final-year hip-hop album project by Humza Loane
ANUJ THAKAR (2015)
As a concept album, this portfolio is influenced in part by Orwell's seminal Nineteen Eighty-Four. Thakar presents a journey into a dystopian society run by an oppressive organisation/government. Here a main character finds a group that share the same distaste for this organisation, whereby an uprising is planned. This profile is formed of six parts.
RICARDO GARISSON, Trapstep [5.1 mix] (2015)
Trapstep combines a Dubstep aesthetic with notions of spatalisation to create an immersive atmosphere. One of five productions, Trapstep is the driving force, inviting listeners to enter the composer's world via headphones of a 5.1 Mix where available. Experimental at the same time, this piece also explores how production processes within the Dubstep genre fare in this new context.
ELLIOTT MURRAY, My Machines Think (2015)
My Machines Think fuses a variety of contrasting beat-based genres together into a coherent and progressive composition. This is approached holistically, exploring what ties these genre together, and what separates them.
STEVEN GREEN, Iridescence (2015)
Iridescence is a slow moving piece that exploits the spectral similarities contained within specific sources of sound. The perceptual focus of the listener is varied through the construction of textural and gestural timbre, aimed at achieving a ‘believable’ sound world.
CALUM VAUGHAN, (Untitled) (2015)
This piece combines a steadily shifting set of beats with flailing apreggiated sonorities that fuse to create a dreamy landscape. Subtle dissonance adds richness as the piece later takes on a more industrial edge.
GRACE DIOR, VIce Voce (2015)
Viva Voce explores the sonorous qualities of the human voice. The composer's own voice is used as a sound source, with a focus on vowels being used to create a variety of different sounds. Markedly experimental, a selection of different recording are pulled together to expose their sonorous qualities in a rather Björk-esque piece.
RYAN TSANG, Sonorites in Sine (2015)
Inspired by the solo piano of Debussy's La cathédrale engloutie, this piece creates a journey accompanied by feelings of tranquility, serenity and peacefulness. Using sine tones as a primary sound source, Sonority in Sine draws on the harmonicity of subtle beating between waves of different frequencies to create a rich soundworld.
STEWART EHOFF, Obscurity (2014)
Obscurity is the first track in Stewart’s album ‘Recall’, an experimental EP which, he says, relates ‘to experiences, emotion, interpretation and the human brain. The EP takes the audience through a sequence of timbrally and stylistically differentiated sound worlds, tied together loosely through instrumentation, production aesthetics and recurring motifs’.
PAUL CHADBUND, Drum Speak (2014)
This track is based on an interest in world fusion electronica and a desire to investigate rhythm through non-standard time signatures. Paul says: "The track is an exploration of rhythm and Indian music as well as rhythm in Indian music. It features a call and response between vocals and tabla drumming. I wanted to include this as it reflects my own journey of learning about rhythm in Indian music and is also a method of learning tabla in traditional Indian music teaching. The call and response gives the track a sense of the traditional Indian music, but the rhythm is very much a western style hip hop beat.”
IMMANUEL FAJGEL, Ice (2014)
This is one of a series of pieces exploring ocean-related themes. This track considers an ice-filled ocean—probably located somewhere in the Arctic Circle. It depicts icebergs floating on the water under a setting sun, followed by the appearance of Northern Lights. This gives way to the sounds of synthesised cracking, fracturing ice with which the piece ends. The intention was to convey a sense of coldness and the raw, untamed wild.