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AMELIE DUCHOW : LOGOS MATER L OGOS MATER is the new album by Amelie Duchow, a sonic research inspired by the phonetic diversity of languages and by the distinctive rhythmic, timbral and acoustic structures that define their sonic identities. Combining experimental electronics, rhythmic structures, ambient textures and transformed vocal fragments, LOGOS MATER investigates the sonic dimension of language beyond the meaning of words. Accents, intonations, speech rhythms and phonetic nuances become compositional material, revealing the unique musicality embedded within linguistic diversity. Developed from voice contributions by participants from different linguistic and cultural backgrounds, the album transforms spoken language into multilayered sonic landscapes. Individual voices are fragmented, processed and recomposed, creating a listening experience in which language returns to its elemental qualities: breath, rhythm, resonance and vibration. Every language carries its own music. LOGOS MATER is an invitation to listen to these differences not as boundaries, but as shared resonances. All contributors whose voices became part of the project until February 2026 are acknowledged in the album credits

MARCO MONFARDINI : CITY DETECTION / SEOUL DETECTION Electromagnetic field recorded in Seoul -South Korea | 14 .12.2017 | by Marco Monfardini

MARCO MONFARDINI : CITY DETECTION / SEOUL DETECTION

SCHNITT : MEMORY CODE MEMORY CODE is a project with the central focus on the human memory. Originally developed as an audio/video live performance the duo SCHNITT based their research for this work on the decoding of their personal memory. During the composition of the album, Schnitt undergoes an inspection and analysis of their own conserved informations, automatisms and intense emotional states connecting them with their current state of mind. The album Memory Code is developed in nine tracks, each one dedicated to a certain type of memory in which successions of layers gradually become visible and emerge in the soundstructure generating a balance between subtle personal sensations and vibrations. Crumbled fragments of memory - undefined and blurred combine and overlap, a disorderly flow of events subordinated to rigid mathematical structures are finding a location in the sound space interposed between past echoes and future moments. For the realization of the album MEMORY CODE, SCHNITT extends their work inviting several international artists to participate with their personal sound memory to the project, asking them to send one or more “ memory sound files” in order to integrate and open the project to other artistic influences, different cultural backgrounds, national origins and generations. The "memory file" contributions received by the eleven guest artists Caterina Barbieri, Ignacio Aguilera Bericochea, Tilman Ehrhorn, Anders Ilar, Incite/, Vitor Joaquim, Herman Kolgen, Ran Slavin, Tacit Group, Frans de Waard and Pavel Zhagun are integrated as a micro ignition of memory into the sound structures previously developed by SCHNITT, as well as being an initial input for new compositions in behalf of the Memory Code album.

SCHNITT : MEMORY CODE

AMELIE DUCHOW : GIMP Etymologically the expression gimp is attested since 1660 from Dutch gimp or french guimpe , a kind of trimming. A gimp suit is a garment designed to cover the body completly used in BDSM to objectify the wearer. The audio composition “Gimp” by Amelie Duchow is inspired by the text “Bringing out the gimp”, Fashion Theory 18:2 by Gary Needham, exclusivly released in collaboration with Yvonne Trew and Gary Needham for the Fashion Continuum event in Nottingham on 22/04/2016 , UK . Gimp is released in a 100 copies special limited edition CD format, cover in 4 mm black rubber hold with 2 black elastics. Gimp CD contains a 12 minutes single track with the voice of Gary Needham.

AMELIE DUCHOW : TONSTICH TONSTICH is a project based on the creation of a sonorous dress; an audio/video project which explores through sound an images the creative/industrial process of an imaginary dress. In TONSTICH basic sound parameters - Attack Decay Sustain Release - are directly related to the dress construction parameters X and Y (length | width). The characteristics of the shape, fit and look of this imaginary dress are determined by the audio composition, following the strict manufacturing schedule of each production unit, the dress is initially modelled by the industrial production process yet continuously modified by the listener’s individual sonorous experience.

SCHNITT : SYNCHROPATH SYNCHROPATH develops a method of composing based on the synchronism of video and audio files.The generated files come from several different sound and video sources. SCHNITT selects 42 audio sources and 28 video sources from which they extract 678 audio files and 234 video files. The single files will be processed, assembled and synchronized between themselves and build up the basic structure of this work. The initial inspiration for the realization of the project Synchropath can be found in the impact of the disorder and chaos generated by the invasive and oppressive presence of sound and visual sources which surround our everyday lives. SCHNITT questions the status of the image, an exploration between communication systems post - television, public screens, websites, home movie’s, surveillance cameras, service monitors etc. SCHNITT activates a process of addition/subtraction which is taking position beyond from the image itself . During the interaction between sound and light the captured images reveal only insome parts their own figurative origin, the 8 tracks continue along between balance and abstraction, harmony and obsession. Each part refers to a certain type of synchronization using its single basic colour for the chromatic development of the video part. The audio part is composed simultaneously to the visual part and is developed by a selection of more than 600 sound fragments which have been extracted especially for this project from the examined 42 sound sources. The sound of SYNCHROPATH is the result of assembling and overlapping sound work , a sort of utopian harmonic organization between communication systems. The sound of electronic origin builds up on rhythmic structures which SCHNITT defines in accordance with the external inputs.

SCHNITT : SYNCHROPATH

CLIZIA : KOMBINAT Kombinat is the debut EP of Clizia the new project of Andrea De Witt, artist present in the electronic music scene with projects as Spin Boldak, Pattern Clear and several collaborations with Technophonic Chamber Orchestra and 4Dkiller. The ep title refers to the production complexes of the real socialism, VEB (Volkseigener Betrieb) Kombinat is composed of 5 tracks and it is released by Sync in a limited edition of 300 copies exclusively vinyl 10” format. Far from easy esthetical solutions and nauseatic perfections Clizia prefers an emotional sound, imperfect, characterised by piano notes which appears and disappears in the perceptible space. A work signed of strong emotions, slow light darkness, streams and repetitions discover in the range of the 5 tracks Clizia’s attitude to the essence. Sound waves flow in a mosaic which surrounds the imagination, electronic abstractions combined with cycling rhythmic structures, sound particles which roam about the border between the nostalgia and the dream of a world (of the Kombinat) which has surpassed the epilog.

SCHNITT : SYNCHROPATH SYNCHROPATH develops a method of composing based on the synchronism of video and audio files.The generated files come from several different sound and video sources. SCHNITT selects 42 audio sources and 28 video sources from which they extract 678 audio files and 234 video files. The single files will be processed, assembled and synchronized between themselves and build up the basic structure of this work. The initial inspiration for the realization of the project Synchropath can be found in the impact of the disorder and chaos generated by the invasive and oppressive presence of sound and visual sources which surround our everyday lives. SCHNITT questions the status of the image, an exploration between communication systems post - television, public screens, websites, home movie’s, surveillance cameras, service monitors etc. SCHNITT activates a process of addition/subtraction which is taking position beyond from the image itself . During the interaction between sound and light the captured images reveal only insome parts their own figurative origin, the 8 tracks continue along between balance and abstraction, harmony and obsession. Each part refers to a certain type of synchronization using its single basic colour for the chromatic development of the video part. The audio part is composed simultaneously to the visual part and is developed by a selection of more than 600 sound fragments which have been extracted especially for this project from the examined 42 sound sources. The sound of SYNCHROPATH is the result of assembling and overlapping sound work , a sort of utopian harmonic organization between communication systems. The sound of electronic origin builds up on rhythmic structures which SCHNITT defines in accordance with the external inputs.