Ornaments was conceived less as an album than as a passage — a sequence of inner states translated into sound. It emerged from years of working at the intersection of guitar folk traditions and modular synthesis, where textures are shaped as much by silence and decay as by melody or rhythm.

The project took form in long sessions where fragments of voice, guitar tuned to 432 Hz, and modular patterns were layered with field recordings captured across different landscapes. These recordings — the noise of a street at dusk, the resonance of distant water, the fragments of human presence — were not treated as background, but as living instruments, carrying memory and atmosphere into the music.

A Continuous Form

Rather than discrete songs, Ornaments is structured as a single arc. Each piece is connected to the next, with motifs recurring like echoes, never identical but transformed by context. The live performance extends this approach: the concert is one uninterrupted movement, usually between forty and sixty minutes, where guitar, modular synthesis, and recordings are allowed to breathe, overlap, and erode each other.

This continuous form is central to the project. It resists fragmentation, asking the audience to enter a slower temporality — one where sound evolves gradually, sometimes almost imperceptibly, and attention deepens through listening.

Alchemy of Elements

Behind Ornaments lies an alchemical idea: the transformation of elements through their interaction. Guitar and voice provide the organic, the raw material; modular synthesis introduces processes of mutation, filtering, and reconfiguration; field recordings ground the whole in lived reality. The result is not a fixed composition, but a mutable state, open to change at each performance.

Listening as Experience

The music does not impose an interpretation. It does not try to illustrate a concept or stage a narrative. Instead, it creates an environment in which the listener may find their own path. Some perceive it as contemplative, others as unsettling; some follow the melodic fragments, others dissolve into texture. What matters is the possibility of transformation through listening — a shift in perception, however subtle.

Why Live

Presenting Ornaments live means extending the work into a shared space. Each performance is different, shaped by the acoustics of the room, the mood of the evening, the interplay between musician and audience. It is not reproduction but reinvention, where the original material is only a starting point for what unfolds.

For venues and festivals, Ornaments Live offers more than a concert. It offers a concentrated, immersive encounter with sound as a living process — a ritual of listening, fragile and unrepeatable.

Zi