CYCLE #1 - BACKGROUND & INTRODUCTION TO MUSIC-CREATIONAL & ARTISTIC CONTEXT
- Rhythmic Circulating Resonation & Morphing Ambient Patterns
- merging rhythmic and melodic components in a modular electronic context

- CIRCULAR MIXING as fundamental mode of creation

During my Masters program, I managed to gather funding for a 4 month residency in Tokyo and Osaka, where I had the privilege of being able to focus and dedicate my full time exploring the personal revelations I had, that described the circular mixing process as a tremendous creative potential for an improvisational language and musical Instrument. I got an insight to this way of creating as a never ending potential. Mixing various sound sources into a unified rhythmic circulating context with a self build modular instrumental surface, embodied a promising physical act of combining all my emotional references and even improvisational- instrumental knowledge through simply letting them resonate in the same sonic structure and thereby creating something entirely new.

This method and technique, this way of approaching an exploration of identity - especially the notion of mixing sonic entities - did also reflect the confusion around my own disjointed musical traditions. Seeing myself as an artist growing up in the dawn of the digital age with access to thousands of various traditional practices and multicultural backgrounds, confounded around my own cultural heritage, I was pleased to express artistically, my mixed multi-cultural background that derived from living and studying abroad, experiencing reality through the lens of various foreign cultures.

Further through the process of merging rhythmic and melodic components in a circular electronic context, I discovered to create these unique morphing rhythmic patterns, which appear in a constant flow and are full of sonic possibilities in transformation.

I place my music into the context of circular improvised electronic rhythmic ambient music. 

Influences and references include Steve Reichs' Music For 18 Musicians, the context of sequence based improvisation like Oren Ambarchi, Barker & Cosmic Kraut Rock, countless artists from the African-Polyrhythmic-Tradition, other electronic circulating artists like Iku Sakan, as well as the cyclic perspective & influences of Classical Indian Music.

The unique ways of how to construct an instrumental surface that is mixing various sound sources into one rhythmic & ambient circulating context represents a huge potential to a perception of an ambivalent ambient context, with a rhythmic atmospheric framework, that surrounds a spiritual improvisational character, induced by the vibration of an overarching and stable resonation. I therefore see this CYCLE#1 as a starting point, as well as contextual reference for further exploration, which describes a developing practice that finds new ways of combing sounds, sources, generative concepts & feedbacks, as well as new rhythms & melodic core structures.

In my perception the following improvisations capture essential milestones that illustrate “mixing”, in a circular electronic context, as a creative potential for an intuitive improvisational language, Instrument and artistic practice. I mix various sound sources into one single rhythmic, melodic & textural circulation. Whereas some aspects of my work is dedicated to the focus of rhythmic circulation, the ambient correlation resided in an overarching, more stable  modal resonation. Parallels to an anchored tonal center as a spiritual reference point, like in classical Indian music (I.e tanpura) is additionally influenced by their own cyclic perspective of the music.

Since this CYCLE#1 represents an introduction into my artistic context, I would like to present a first rhythmic ambient circulation with the intention to define a reference for what all the following research is based upon: An investigation of artistic perspectives & aesthetic potential around the context of circular rhythmic & ambient electronic music.