On wednesday October 4th i will be presenting two electroacoustic pieces on the FeBeME Electroacoustic music evening at Centre Culturel Jacques Franck in Brussels.
Collectif Seneçon * : World premiere, stereo, 15-20’
Collectif Seneçon * : Path, stereo, 15’
Kristof Lauwers : 145+, stereo, 5’20
Kristof Lauwers : Redshift, stereo, 7’50
Room Nocte ** : World premiere, Live Electronics, 20’
Sylvie Bouteiller : Piquée d’un Faune, 1440 secondes pour 4 mains et acide nitrique (World premiere), Live Electronics, 24’
More information on the FeBeME site
A Piece for Rodo, a gigantic toy piano built by Godfried-Willem Raes at the Logos Foundation.
A new spectral quarter tone composition for the Logos Robot orchestra, featuring several wind and percussion robotic instruments built by Godfried-Willem Raes.
On Sunday January 22nd, Laura Maes and me present our Stereotaxie installation on Stormopkomst at CC de Westrand in Dilbeek
Stereotaxie insallation by Laura Maes en Kristof Lauwers
A piece for <HybrLo>, an electroacoustic pipe organ using membrane driven resonator pipes, part of the Logos Robot Orchestra
Undae! Electroacoustic Music I and II is a selection of the call for works 2014-2016 for the Undae Radio program on Radio Circulo. In these albums you can appreciate the work of different composers from different parts of the world and their way of working and adjacent electroacoustic music in the early years of the century. The first volume includes works by Maxime Barthélemy, Jason Bolte, Thomas V. Christie, Alberto Quintana Tauler, ElectroCaustic Trio, Kosmas Giannoutakis, Kaoshipnótico, Kristof Lauwers, Felipe Otondo, Juan José Raposo, Sol Rezza, Shaun Robert and Julian Scordato.
Added a new photography page, with some pictures taken during a hike on a misty day in the Piatra Craiului mountains in Transylvania, Romania.
Available as poster , canvas or framed print at Crated.
A piece for the <Chi> robot accompanied by the other robots of Logos’ Robot Orchestra
The source material for this piece are several field recordings i made over the years that i didn’t find good enough to present as field recording on their own, but which still did contained a lot of interesting sonic material. I started off with the idea of making a collage with the most appealing sounds from the field recordings, but ended up processing them quite heavily, so not much of the original sounds can be recognized in the end. Still the natural origin of the sources is reflected in an organic feel to the sounds, and their overall shapes determine the structure of the piece.