The compositions of Maria W Horn (1989) implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.

Marias installation work explores the inherent memory and mythologies of specific places or geographic areas and the people that have inhabited them. In her careful work with perceptualities, sound is often connected with structures of light aiming to build acoustic environments where senses interlace.

http://www.mariahorn.se/
https://mariawhorn.bandcamp.com/

Timothy Gowdy is a Canadian music producer and audio/visual artist. He sang choral music professionally with the American Boychoir in Princeton, New Jersey, before pursuing classical guitar studies and a Masters in Sound Recording at the Schulich School of Music in Montreal, Quebec. Following his graduation in 2007, Gowdy began a career as a freelance producer and sound engineer; he is credited with more than seventy album productions between 2008 and 2020, including artists such as Ada Lea, Ensemble and SUUNS. His current interests lie in the use of sound feedback to augment interactivity in sound environments, as well as the deconstruction and re-synthesis of urban sonic environments.

Gowdy’s third album and his first for Constellation, Therapy With Colour, was released in May 2020. He also contributed a track and a video to the label’s Corona Borealis longform series that same year. Live performances included MUTEK Montreal in September, and Node Festival in Frankfurt in October.

Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video-capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward.

http://t-g0wd-y.org/
https://cstrecords.com/pages/t-gowdy