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Canadian electro-acoustic composer Mitchell Akiyama initially worked on other people's music.
Hope That Lines Don't Cross (2001) used music by Vladislav Delay and Pole to create its own glacial soundscape.
Temporary Music (Raster, 2002) used Mathieu and Oval as sources.
His digital deconstruction of acoustic instruments yielded the
glitchy ambient music of
the mini-album If Night is a Weed and Day Grows Less (Sub Rosa, 2004) and
of Small Explosions That Are Yours To Keep (Sub Rosa, 2005), that manipulated his own live acoustic instruments.
Mort Aux Vaches (Staalplaat, 2005) offered gentle ambient music created by digitally processing his own live guitar playing.
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