http://www.audiofarm.org/audiofiles en-us 40 Audiofarm Podcast Daily charts - contemporary Audiofarm Audiofarm Podcast Daily charts - contemporary Audiofarm Podcast Daily charts - contemporary Audiofarm info@audiofarm.org Audiofarm http://www.audiofarm.org/images/audiofarm_podcast.png http://www.audiofarm.org/audiofiles 190 190 anonymous "Sound & chifles" is an album when I use the same caracteres(sounds) but in diferent context (in the first 3 pieces),like a three diferent histories with the same elements but transformed. the piece Prisma II is a Omaggio to a Peruvian 60's composer Enrique Pinilla, one of the pioners in electronic music in this country. he's electronic pieces that he worked was charged of visual senses. i made this piece using old school techniques (analog recordings) mixed with sinthesis software. and the last piece was recorded in a livesession with 2 american musician friends during their visiting for Chile in the 2007, we joined in a Krishna Temple in the city of Antofagasta (Chile) and made a nice concert, very intuitive and sensorial playing with delicate and disturbing sounds and changing emotional senses... Renzo Filinich 2008 www.myspace.com/renzofilinichmetastasis "Sound & chifles" is an album when I use the same caracteres(sounds) but in diferent context (in the first 3 pieces),like a three diferent histories with the same elements but transformed. the piece Prisma II is a Omaggio to a Peruvian 60's composer Enrique Pinilla, one of the pioners in electronic music in this country. he's electronic pieces that he worked was charged of visual senses. i made this piece using old school techniques (analog recordings) mixed with sinthesis software. and the last piece was recorded in a livesession with 2 american musician friends during their visiting for Chile in the 2007, we joined in a Krishna Temple in the city of Antofagasta (Chile) and made a nice concert, very intuitive and sensorial playing with delicate and disturbing sounds and changing emotional senses... Renzo Filinich 2008 www.myspace.com/renzofilinichmetastasis "Sound & chifles" is an album when I use the same caracteres(sounds) but in diferent context (in the first 3 pieces),like a three diferent histories with the same elements but transformed. the piece Prisma II is a Omaggio to a Peruvian 60's composer Enrique Pinilla, one of the pioners in electronic music in this country. he's electronic pieces that he worked was charged of visual senses. i made this piece using old school techniques (analog recordings) mixed with sinthesis software. and the last piece was recorded in a livesession with 2 american musician friends during their visiting for Chile in the 2007, we joined in a Krishna Temple in the city of Antofagasta (Chile) and made a nice concert, very intuitive and sensorial playing with delicate and disturbing sounds and changing emotional senses... Renzo Filinich 2008 www.myspace.com/renzofilinichmetastasis http://www.audiofarm.org/audiofiles/4847 Fri, 22 May 2009 12:20:05 +0200 no hpcd045 metastasis sound chifles headphonica anonymous http://www.audiofarm.org/audiofiles/1399 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1836 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. http://www.audiofarm.org/audiofiles/3047 Sat, 17 Jan 2009 15:45:21 +0100 no andrea pireddu music orchestra piece classical musica finale ballu tres sartiu anonymous http://www.audiofarm.org/audiofiles/1360 Sun, 30 Mar 2008 12:12:24 +0200 no costlow sophomore sophomore jinx magnatune Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. http://www.audiofarm.org/audiofiles/3049 Sat, 17 Jan 2009 16:12:07 +0100 no andrea pireddu music orchestra piece classical musica finale ballu tres sartiu Opera Eftos the dissonant future, pseudo-reality under the influence of c10h15n the dissonant future, pseudo-reality under the influence of c10h15n the dissonant future, pseudo-reality under the influence of c10h15n http://www.audiofarm.org/audiofiles/2632 Mon, 17 Nov 2008 16:17:54 +0100 no goth avantgarde classical orchestral symphonic anonymous http://www.audiofarm.org/audiofiles/1396 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous http://www.audiofarm.org/audiofiles/1410 Tue, 01 Apr 2008 20:44:20 +0200 no ehren lines lines build walls magnatune Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. A chamber orchestra work based on a transcription of a traditional Sardinian dance song. One of the six pieces prepared for my degree in Music Composition. A chamber orchestra work based on a transcription of a traditional Sardinian dance song. One of the six pieces prepared for my degree in Music Composition. A chamber orchestra work based on a transcription of a traditional Sardinian dance song. http://www.audiofarm.org/audiofiles/3054 Sat, 17 Jan 2009 18:37:26 +0100 no andrea pireddu music piece orchestra classical musica mutos canone anonymous http://www.audiofarm.org/audiofiles/1365 Sun, 30 Mar 2008 12:12:24 +0200 no costlow sophomore sophomore jinx magnatune anonymous http://www.audiofarm.org/audiofiles/1388 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion http://www.audiofarm.org/audiofiles/2196 Tue, 01 Jul 2008 14:40:54 +0200 no hplive008 blind statement headphonica anonymous http://www.audiofarm.org/audiofiles/1389 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion to improvise is like making a statement without knowing the matter of your speech but the mood; a "blind statement" that can be a strong assertion http://www.audiofarm.org/audiofiles/2197 Tue, 01 Jul 2008 14:40:54 +0200 no hplive008 blind statement headphonica anonymous http://www.audiofarm.org/audiofiles/1393 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1831 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica anonymous http://www.audiofarm.org/audiofiles/1412 Tue, 01 Apr 2008 20:44:21 +0200 no ehren lines lines build walls magnatune anonymous http://www.audiofarm.org/audiofiles/1404 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous http://www.audiofarm.org/audiofiles/1366 Sun, 30 Mar 2008 12:12:24 +0200 no costlow sophomore sophomore jinx magnatune Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. It's based on a transcription of a traditional Sardinian dance song. One of the six pieces prepared for my degree in Music Composition. It's based on a transcription of a traditional Sardinian dance song. One of the six pieces prepared for my degree in Music Composition. It's based on a transcription of a traditional Sardinian dance song. http://www.audiofarm.org/audiofiles/3051 Sat, 17 Jan 2009 16:12:09 +0100 no andrea pireddu music piece solo clarinet classical musica clarinetto anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1834 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. One of the six pieces prepared for my degree in Music Composition. The first and the second movement are based on a transcription of two different traditional Sardinian dance songs, songs that compares both in the last movement too. http://www.audiofarm.org/audiofiles/3046 Sat, 17 Jan 2009 15:05:17 +0100 no andrea pireddu music orchestra piece classical musica finale ballu tres sartiu anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1827 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica anonymous http://www.audiofarm.org/audiofiles/1405 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1833 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica anonymous http://www.audiofarm.org/audiofiles/1408 Tue, 01 Apr 2008 20:37:33 +0200 no wahl guitarscapes guitarscapes magnatune anonymous 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. 'Live at Heliogabal' is constructed by two principal patterns: one matter from my album 'Diferenciales' and one other from 'Songbook'. Both works are in progress, but the remixes, with other materials (early works, wolf variations, etc.) present true aspect for a global vision of my work. When I have to outline a curriculum or a biography, I always remember the madrilene artist Valcarcel Medina whose curriculum consists of writing his year of birth followed by all the numbers(figures) of the consecutive years up to coming to which would have at present. So mine it would be 1976-1977-1978 ...2007. I started in the world of the digital music about works in theatre and radio. My first serious work - or at least my first attempt of composing some pieces as a whole was in 2002: Otra broma (Another joke), an honoring to Erik Satie. I continued doing montages for radio and theatre, electroacustic and soundscape (from 2000 I have worked doing a personal sound archive with most of hundred recordings). And from 2006 I started being interested for the minimal, ambient and other rhythms most related to the dance music. http://www.audiofarm.org/audiofiles/1837 Mon, 28 Apr 2008 18:57:04 +0200 no hplive004 live at heliogabal barcelona 26 sep 2007 headphonica Andrea Pireddu One of the six pieces prepared for my degree in Music Composition. One of the six pieces prepared for my degree in Music Composition. One of the six pieces prepared for my degree in Music Composition. http://www.audiofarm.org/audiofiles/3057 Sat, 17 Jan 2009 18:40:02 +0100 no andrea pireddu music chamber trio flute piano cello musica flauto pianoforte anonymous http://www.audiofarm.org/audiofiles/1413 Tue, 01 Apr 2008 20:44:21 +0200 no ehren lines lines build walls magnatune