Notes on “Dark Transmissions”
“Dark Transmissions” started the way these do — a long look at industry, at an odd hour.
I wrote it at the synth piano, mostly late, mostly by deleting.
Made small, on purpose.
modern composition · synth piano
One synth piano, and as little else as I can get away with.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
“Dark Transmissions” started the way these do — a long look at industry, at an odd hour.
I wrote it at the synth piano, mostly late, mostly by deleting.
Made small, on purpose.
How it's actually made: synth piano, close-mic'd, and everything unnecessary removed.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Owed to Erik Satie, Claude Debussy, Ludovico's quiet school. The rest I took by accident.
I don't choose urban poetry; it keeps choosing me.
Between the notes I left in as much industry as I could.
That is all it wants to be.
There is a single feeling under “Crane Poetry”: the idea of cranes.
It is modern composition, so nothing hurries — the synth piano is allowed to just sit in the room.
Play it low. It was made low.
“Sky Manuscripts” started the way these do — the idea of cranes, at an odd hour.
Each pass got quieter until only concrete was left.
Play it low. It was made low.
Plays rarely. Tiny rooms, Poland. Word of mouth. Enquiries only.
Music built like a building — concrete, cranes, and poetry found in scaffolding.
Works in modern composition. One synth piano. Not much else.
Circles cranes. Avoids urban poetry. Releases quietly: “Crane Poetry”, “Dark Transmissions”, “Sky Manuscripts”, “The Open Country”.
Space over spectacle.