Dania
Sound artist and musician based in Barcelona, Spain.
About
Releases
FORTHCOMING EVENTS
May - June:
— 5 week residency CBI, Providenza
May 18 —Hangar, BCN
—with Flora Yin Wong
July 5 — Casa Montjüic, BCN
July 15 — Cafe Oto, LDN
— with Felisha Ledesma, Rosso Polare, Not Waving
LINKS
Soundcloud
Paralaxe Editions
arête
LONGFORM EDITIONS
22’’ Longform Composition
Artist notes
This piece was created mostly using my voice, granular synthesis and some flute/piccolo. It’s actually the first time I’ve recorded the flute on one of my tracks, although I first started playing the instrument as a child. Flute wasn’t my instrument of choice, but my parents ultimately agreed to it because it reminded my father of the Arabic ney and must have ticked some sort of cultural nostalgia box. For this Longform piece, I decided to run the flute (and my piccolo, which I just started playing recently) simultaneously through three separate pedal chains; that allowed me to take a simple sound, sometimes a melody of only three notes, and let it generate a base on which I could improvise. One of those chains included the Soma Cosmos; it’s a drifting memory machine and I really liked that it recalled musical motifs I’d recorded minutes prior and randomly looped them back into the piece. As those motifs reappeared, I would then develop them in new directions, giving rise to an ever-evolving piece that somehow feels like it exists outside of linear time.
LONGFORM EDITIONS
22’’ Longform Composition
Artist notes
This piece was created mostly using my voice, granular synthesis and some flute/piccolo. It’s actually the first time I’ve recorded the flute on one of my tracks, although I first started playing the instrument as a child. Flute wasn’t my instrument of choice, but my parents ultimately agreed to it because it reminded my father of the Arabic ney and must have ticked some sort of cultural nostalgia box. For this Longform piece, I decided to run the flute (and my piccolo, which I just started playing recently) simultaneously through three separate pedal chains; that allowed me to take a simple sound, sometimes a melody of only three notes, and let it generate a base on which I could improvise. One of those chains included the Soma Cosmos; it’s a drifting memory machine and I really liked that it recalled musical motifs I’d recorded minutes prior and randomly looped them back into the piece. As those motifs reappeared, I would then develop them in new directions, giving rise to an ever-evolving piece that somehow feels like it exists outside of linear time.
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