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Parenthesis unfolds as a conversation between fingerpicked acoustic guitar —rooted in the language of classic blues— and an analog machine that crackles, pulses, and follows.
The melody leads with emotional nuance, and the Syntakt listens closely, shaping a structure around it.
Machines used:
– Elektron Syntakt
A composition for the Elektron Model: Samples, Bastl Ikarie stereo filter, and a wind quartet made up of oboe, clarinet, bassoon, and horn.
The monophonic melody generated by the Model Samples is echoed and transformed by the winds, who mirror, reinforce, and elevate it, especially in the chorus, where it becomes almost a hymn or a call.
A piece that asks the listener to pause and hear what the synthetic voice begins and the human breath completes.
Machines used:
– Elektron Model: Samples (Sampler and sequencer)
– Bastl Ikarie (Stereo filter)
A composition for the Arturia Minibrute, Circuit Monostation, and a classical string trio (violin, viola, and cello).
The violin begins alone, but upon hearing the Minibrute —sequenced and filtered through the Monostation— it starts to follow, orbit, and flutter around it with the viola and cello, like butterflies drawn to vibration.
The synth signal flows through the Monostation’s filter and overdrive, soaking up its inner character and giving the piece a warm, resonant texture.
Machines used:
– Arturia Minibrute (Analog synthesizer)
– Novation Circuit Monostation (Analog synthesizer and sequencer)
A short instrumental blues inspired by Robert Johnson, played on a Martin StreetMaster 000-15M guitar, accompanied by the Norand Mono MK2 analog synthesizer.
An exploration of the subtle fusion between the warmth of acoustic blues and the expressive character of analog sequencing.
Machines used:
– Norand Mono (Synthesizer and sequencer)
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