I love minimal piano and electronic noise, two different worlds.
Silent Noise Revolution is my continuous search to find a balance between minimalistic piano compositions and electronic noises.
I make electronic noise with self-designed electronic circuits, DIY circuits and modular synthesizers.
It started as a functional tool in my composition toolbox: I found out that noise opens gates that let in continuous stream of inspiration for piano.
Here's how it happened:
On a Sunday night I played a vinyl record that I bought on the flee market. I started reading a Murakami novel
and was really into the story until I heard the crackling noise of the needle, at the end of side A (my record player is not automatic). I was touched by the beauty of this simple rhythm csshtick … cssshtick … cssshtick, it gave me goosebumps. With the vinyl record still looping in the end groove I got up from the book and moved to the piano. Since that moment I found out that background noise opens a gate for me, a direct connection with a space of inspiration without any limit or judgement.
Being in this state, I just create and record without judging, slowly gravitating to repeating patterns.
Next, I just put the recordings aside until I got disconnected from them. Then I listen to it with a judging mind. At this stage 90% of the ideas gets deleted. Now some phrases, sequences or themes start to resonate.
Next, I try to build a story around these ideas: a starting point, a flow, modulations, tension bow ... I like to do this part of the process slowly because I really enjoy doing this, it's my favourite phase.
Finally, I work towards final mixes and put things aside again for a while. Next coms another judging stage where most of the tracks are deleted. Deleting them gives more space for the remaining pieces to grow.
It's a process that works for me, not a general formula: it may not work at all for other people/artists/creators.
When I prepare for playing live, I need a month of daily practicing and repetition. It's a hard routine but rewarding at the same time. One week before a live set I make the final arangements of modules and electronic circuits, to focus on muscle memory.
The process, formula and routine is like a toolset for me to take away performance stress. It took me about 10 live concerts before I was able to enjoy the moment, but it was all worth the long and slow path: next to the creation process I am now also able to enjoy live sets :-)
I make filmic piano music as Silent Noise Revolution.
Since 2016, Silent Noise Revolution appears in every Piano Day playlist made by Nils Frahm.
In 2016 I joined the Belgian Screen Composer guild.
In 2017 I co-wrote the debut album of singer Kyoko Baertsoen (who wrote ‘Tears From The Moon’ with Rick Nowels (Lana Del Ray, Madonna), covered by Sinéad O’Connor and also featured in Lara Croft ‘Tomb Raider’). A track from the album was featured in “46,XX”, a film by Guido De Craene.
In 2018 I started modular404, a curated label dedicated to modular synthesizer tracks of 404 seconds by artists worldwide.
Since 2019 I'm working continuously on new electronic circuits for Silent Noise Revolution tracks.
In 2021 “Insides” (10 piano compositions as Silent Noise Revolution) was released on vinyl by label BelgianNeumusik, followed by a number of live shows.
Since 2022 I am curator of Modulation, an electronic minifestival at cc Muze Heusden-Zolder Belgium, in partnership with AntennA vzw.
In 2023 “Looking For A Heart Of Gold” (a film by Rudolf Mestdagh) won the Best Original Film Score award at Albori Filmfestival. I was happy to contribute to the soundtrack of this movie.
During 20 years I made scores for international commercials, TV programs and multimedia projects.
Odette Di Maio (Milano, Italy) and me worked together as Miss O. As Miss O we released more than 25 songs, 2 song placements in a movie and a finale at the 2012 OZU filmfestival in Italy with an original score of Alice In Wonderland.