My new EP “The Endless Seasons” was released recently on Field Noise Records. To better talk about this work, I will quote the review written by Bert Strolenberg in Sonic Immersion: “The slow, non-rhythmic miniature soundscapes and expansive drone pads found here explore the concept of Japanese seasons within the realm of imagination, and their intrinsic absence of absolutes, where each piece is corresponding to one particular seasonal period [...] The smooth surface soundscapes of the 10-minute “Colours of White” is a great ending of the album, which is even more fascinating when experienced with headphones.” All infos about this EP can be found on the release page.
A few months ago, the curator of the Endless Endless project asked me to create a short 2 min piece to be added to the existing mix. It was a new and interesting challenge because of the time constraint and the atmosphere of the existing mix. My contribution has now been included in a new version of the project and can be heard at the 8min mark of the track below. Enjoy!
From the Endless Endless microsite:
“Endless Endless provides an ever expanding organic arrangement space. Artists are invited to send 120 second tracks of ambient audio to Audiobulb. Tracks are mixed alternatively into the start or the end of the piece in a manner that expands Endless Endless.”
I am very happy to announce that the remix I made a year ago for hungarian artist András Hargitai aka Banyek has been released very recently on the netlabel Complimentary Distribution. I came across András through the .microsound mailing list where he posted a message looking for artists to remix one of his ambient track called ‘Hazafelé’. The only rule was to process his material only, without adding anything new. After a couple of weeks, I came up with a interesting rework that kept the original intention of the track but took it somewhere else.
This release contains the original track, my remix and a dub version of my work. The EP can be downloaded for free at bitlab/cod.
A new review of my album has just been published in the May issue of textura. Established in August 2004, textura is a monthly publication of experimental and electronic music-related reviews, interviews, and articles.
“The Silent Watcher presents seven heavily textured, atmospheric settings by electronic music composer Pascal Savy. For his first full-length album, the London, UK-based producer worked with field recordings of workshop tools, clock devices, rusty bicycle wheels, children’s voices, and so forth (in their unaltered and processed forms) to create miniature sound narratives of evocative character. Using granular synthesis techniques, Savy manipulates the source materials so that a hint of their originating identity sometimes remains but also to such a degree that the materials assume an abstract and open-ended character—much like an image that’s so out-of-focus only glimmers of its outlines remain. Fragments of keyboard melodies, for example, ripple across whispering drones in “Deconstructing Clues” while a human’s distant cry intermittently surfaces. A percolating beat pattern quietly pulsates throughout “Asleep” as if to mimic sleep’s regulated brain activity, while minimal piano notes punctuate wavering swirls of choral-like drift. Though there’s a restless pitter-patter of warm keyboard tones, echoing ripples, and other noises cascading across the smooth surfaces of “Oblique,” the piece largely sticks close to its evenly modulated core. A darker undercurrent threading through “Muon” lends it a subtly menacing ambiance, an impression bolstered by the sounds of nocturnal creatures chattering amidst the percussive clatter and churn of industrial machinery. Savy’s pieces are nominally ambient, though not so much that they blend into the background like so much wallpaper. Though there are melodic elements, he renders their outlines fuzzy too so that the melodies are broken up, muffled, and muted, as if heard through a semi-transparent scrim. The resultant pieces are artful and nuanced, not to mention admirably understated—so much so, in fact, that close listening is needed for the high quality of the material to be fully appreciated.”
My new EP “The Endless Seasons” was released recently on Field Noise Records. To better talk about this work, I will quote the review written by Bert Strolenberg in Sonic Immersion: “The slow, non-rhythmic miniature soundscapes and expansive drone pads found here explore the concept of Japanese seasons within the realm of imagination, and their intrinsic absence of absolutes, where each piece is corresponding to one particular seasonal period [...] The smooth surface soundscapes of the 10-minute “Colours of White” is a great ending of the album, which is even more fascinating when experienced with headphones.” All infos about this EP can be found on the release page.