Lärmkunst, by Daniel Diaz

Lärmkunst

by Daniel Diaz

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of 2023 All Singles Collection, That Old Dark Piano, 2022: All Singles Collection, Miniatures Volume 2, The Milky Way Sea, 2021: All SIngles Collection, Understated Passion Melodies, Miniatures Volume One, and 35 more. , and , .

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1.	clockworks 1 analog/metronomikas 02:20	info	buy track
2.	lärmkunst main theme 03:40	info	buy track
3.	bamboo lärmgroove 02:16	info	buy track
4.	lärmkunst piano 03:20	info	buy track
5.	daktilograficas 03:13	info	buy track
6.	flutes ambient 03:05	info	buy track
7.	bamboo metronomes: the painfull clixs 02:27	info	buy track
8.	lärmkunst noisy theme 03:37	info	buy track
9.	clockworks 2 digitales 02:31	info	buy track
10.	guitars distort 03:06	info	buy track
11.	soudain… opening sequence 02:43	info	buy track
12.	soudain… guitar noise & drone 01:37	info	buy track
13.	soudain… finale 03:51	info	buy track
14.	soudain… main theme 05:21	info	buy track
15.	lärmkunst folk 04:14	info	buy track
16.	clockworks 3 bad ben 02:34	info	buy track
17.	lärmkunst deconstructed theme 04:44	info	buy track
18.	blow... 02:28	info	buy track
19.	…wind blow 02:17	info	buy track
20.	lärmkunst final theme 04:15	info	buy track

about

"If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience." John Cage (1912 - 1992)

Larmkunst:

noise as music + music as noise. noise from music + music from noise. Acoustic instruments and pure noise blended with real time treatments-mutilation-manipulation.
Absolutely no synthesizers used.

Part of MUSIQUE MECANIQUE LIMITED EDITION BOXSET

credits

released December 10, 2010

Composed and performed by Daniel Diaz, Paris France & Greece, 2010
Art by Sergio Pittaluga

Liner Notes:

The original idea was purely experimental:
noise as music + music as noise. noise from music + music from noise. Acoustic instruments and pure noise blended with real time treatments-mutilation-manipulation.

But eventually, instead of a work in the glitch & noise music style so in vogue since the mid 90’s, I ended up integrating those glitches and sonic artefacts into more traditional compositions, and sometimes I even used standard “song writing”.

Most of the tracks here include two kinds of sound sources: music and noise.

Musical sound sources consist of performances that are, in essence, pure and simple, mostly music performed on just one or two acoustic instruments. This performances are treated (usually in real-time) with analogue and digital processors and then edited, altered, tampered, distorted, and heavily transformed, pushing the boundaries between sound and noise. This creates additional tracks to be used as noise and background.

As for the noise sound sources: some “pure noise” sounds (field recordings, noises generated from instruments, switches and cables, tape distortion, processing errors, no-input mixer, AM radio interference, vinyl cracking, pots, pans, bins, typewriter, alarm clocks, etc) were used along with noise sounds created by the use (and abuse) of overdrive and distortions applied to simple, clean and pure sounds sources: acoustic pianos, classical guitars, the sound of the wind, etc.

So, musical notes and phrases performed on acoustic instruments have been transformed to create textured noise (most of the “noise” sounds are actually excerpts from the performed musical –instrumental- tracks, manipulated and metamorphosed beyond recognition), and on the other hand pure noises were transformed to create musical material, sometimes playing melodies by means of pitch shift. Other effects and processing includes prominently: delays, echoes, filters, overdrive, distortion, and treated reverb.

This project started as a derivational work from two other projects I’ve been working on during 2008-2009: “musique mécanique” and original music for Réné Loyon’s version of Tennessee Williams’ “suddenly last summer”. While working on M.M. I fell under the charm of manipulated delays playing rhythmically along real time human performances and the use of mechanical objects to perform music, while “suddenly…” needed background noise as a presence and soundtrack (mostly bayou’s swamp and jungle noises) and once these noises treated, manipulated, and blended with standard music, I found them to be plain beautiful, not just as background ambience, but as musical parts and statements as well.

Part of the fun of producing this music is that I wanted to limit myself to a small number of sound sources (sometimes just one) and create a wide palette of sounds and tracks from that source, creating noise, texture and music out of that single performance.

dd summer 2010

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about

Daniel Diaz Paris, France

Daniel Diaz developed a diverse career as a composer, arranger and producer, in tandem with his activity as a multi- instrumentalist session player. Since 2005 he has been working for some of the finest music libraries and publishers in France, the United States, Germany and Canada. Many of his compositions have been placed in documentaries and film. ... more

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Post-Rock, instrumental, very atmospheric, a band perhaps less popular in the genre's classic "tenors" (GSYBE, Mogwai, DMST) but in the same vein, very well served BC boutique, check it out. Daniel Diaz
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A shared effort by two of my favourite math-rock bands from Japan, check it out. And of course, check out TOE (my favourite) if you like this. Daniel Diaz
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Neoclassical, soft and subtle, not for those who look for powerful or exuberant music, this is soft and slow moving. I like almost anything this guy releases, this is a newly remastered debut album. Daniel Diaz
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