Anotropia (or: do violinists dream of Fourier transforms) (Athens/Heraklion 2011)

(watch a video here)

Anotropia (* tendency of the eyes to turn upward and away from the visual axis) for violin, unattended computer and 5 loudspeakers was comissioned by the Centre of Contemporary Music Research.

Premiere, December 20th 2011; Knot Gallery, Athens.

Paesaggio Sonoro (Rethymnon, 2011)

(listen to a studio stereo version here)

A performative work for full-spere ambisonics based solely on the intuive juxtaposition of environmental recordings. Environmental sounds and cityscapes are used to construct an immersive 'SoundWalk' (Paesaggio Sonoro) for the audience to engage with. 

The work is included in the 'A World of Soundscapes' compilation (AVCHD DVD) by A&G (Italy, 2011)

Premiere, May 22th 2011; Villa Strozzi, Florence. 5th FKL conference on SoundScapes (Keep an Ear On).

Afield (Heraklion 2010)

(listen to a live recording here)

Afield is a site-specific performative work for 6 non-cannonically placed loudspeakers and an adequate number of subwoofers. It attempts to dynamically interact with the spatial qualities of each accommodating space in terms of providing an ever-changing unbalanced sound-field within it. Hence its name, as the work operates implicitly in the space making it less intimate. The audience is encouraged to explore the way sound occupies space by experiencing the work from various fixed spots as well as by ambulatory listening.

Premiere, 07.01.2011 Knot Gallery - Athens, Greece.

in:out (York, 2010)

(listen to a stereo version here; a quad version is also available for download by reductive music)

in-out is a site-specific performative work for computer running custom software, a full-sphere ambisonics rig and arbitrary isolated speakers or isolated groups of speakers and  subwoofers. in-out brings different acoustic spaces together and explores the ways in which they correlate and antagonize each other in the same auditory nexus. Engaged in an ubiquitous interlocking, they move IN and OUT of focus causing several streams of information to emerge and to dissolve, to territorialise and to deterritorialise (in a Deleuze-Guattari fashion) and this way to immerse the listener in a multi-level listening experience.

a soundfield st-250 records the rehearsals @ the AS Rymer Auditorium (York, UK - 2010) - using a 16-speaker full sphere ambisonics configuration, 5 genelec 1037C speakers and a genelec 7060A subwoofer:

configuration used during the recording sessions in the Studio of Music Interaction and Polyphony (Rethymnon, Greece - 2010) using a total of 14 genelec 8040 speakers and 2 genelec 7060B subwoofers:

3 Studies for environmental recordings, VCS3 and studio response (Athens/Rethymnon 2010)

(listen to first study here)

On June 28th and July 1st 2008, I spent some time recording a vintage VCS3 at the Centre of Contemporary Music Research' s (KSYME) facilities in Athens. On September 2010, in my place in Athens I juxtaposed some of these sounds with various environmental recordings from my library to compose 3 short fixed medium pieces. 

On October 16th of the same year, I appropriated these works to be reproduced by 4 genelec 8050A speakers and a genelec 7060B subwoofer in the 'studio of music interaction and polyphony' of the Technical University of Crete, city of Rethymnon, which I later recorded using a pair of spaced DPA 4060 omnidirectional microphones.

3 studies for.. were released in a cdr by UzuSounds, France 2011.

Malfunctions (Athens, 2009)

(listen to an excerpt here)

‘fucking turn it UP and you just have one of the best noise albums of the year’ Anti-Gravity-Bunny

‘any scholarly novelty is diminished as the pleasure of the sound becomes central’  Animal Psi

This project deals with obscured or unwanted sounds, those which we usually do not pay attention to, or even try to eliminate as annoying. By interfering with various systems and by triggering not-meant-to-be processes I acquired on purpose all sorts of malfunctions with which I interacted in arbitrary ways. Those parasitic innovations, as consequences of an unpredictable and totally ambiguous side-being, erode a system' s functionality and transform it into something completely different (most of the times considered undesired, too) but definitely present and not less genuine.

Using found electronic devices, coils, custom electromagnetic and ultrasonic transducers along with various hardware hacks and feedback techniques, I attempted a meditation on all those sounds-that-were-not-meant-to-be.

A fixed media version was released in cdr by ΑΓΧΙΒΑΤΕΙΝ, Athens, 2010.

Peripatetic (York, 2009)

(listen to an excerpt here)

'a cryptic travelogue' (One True Dead Angel)

'Peripatetic - adjective. 1. Travelling from place to place, esp working or based on various places for relatively short periods. 2. with reference to the Aristotle’ s practice of walking to and fro while teaching'. (Oxford American Dictionary)

Peripatetic is a fixed media work consisting of field recordings from Amsterdam, Athens, Berlin, York, London, Vienna, Brussels, Gent, Antwerp, Liverpool, Leeds and inside various means of transportation between them.

Peripatetic was released in cdr by ΑΓΧΙΒΑΤΕΙΝ, Athens 2009

Trevor Jones Studio Sessions (York, 2009)

(listen to an excerpt here)

‘forces itself upon the listener and pierce in your head. Great!’ - Frans de Waard (Vital Weekly)

The first months of the 2009 I composed a series of site-specific generative pieces that were later performed in the control room of the Trevor Jones Studio in York, UK, in four improvised sessions (02,03,18 and 20 of March). The focus was on how sound alters the aesthetic and physical qualities of the site and how it challenges its functionality. It was an attempt to establish a sonorous architecture within the room. For the record, I only used the SuperCollider programming environment and a Lexicon TC 6000 system. 

The 'Trevor Jones Studio Sessions' album was the result of additional studio work with these recordings and was released in cdr by ΑΓΧΙΒΑΤΕΙΝ, Athens 2009.

cHro(m)A (Athens, 2008)

(listen to an excerpt here)

'this nerve-massaging mumble is extremely efficient' Massimo Ricci (Temporary Fault) 

A project conceived in early 2008 and dealing with static sound and minimal intervention; the aim is a sense of timelessness, a sonorous monochromy. In cHro(m)A the focus is shifted from the audible to one' s perception of it. When a mind encounters that kind of material, it gets more and more sucked into minute permutations and subtle details, this way unveiling a powerful potential in static textures.

cHro(m)A excerpts have been released in cdr by EchoMusic, Athens 2009

ANASISEIPSYCHOS (Athens, 2007)

(listen to an excerpt here)

‘one of those releases made to be played endlessly, day in day out' Massimo Ricci (Brain Dead Eternity)

Anasiseipsychos was conceived in late 2007 during a series of late-night improvisations. This performative piece consists entirely of sine tones, mixed and modulated in such a way that the resulting psycho-acoustic side effects have become the unintentional focus of the work.

A studio version was released in cd by Entr’ acte, Lonfon 2009

Miscelaneous Chamber/Orchestral Works (Various Locations, 2007-2011)

(click on the titles below to listen to recordings)

'Snippets of sound hung in space, creating a sense of timelessness. The timbral qualities achieved were by turn ethereal and aggressive, aided by ingenious use of remarkable instrumental techniques..' - Becky Thumpston (The Yorker)