Are You Ready To Move On?

Tears Of Mars

Funny Looking Flowers

19th Degree Blues (2024 Master)

19th. Degree Blues

Not all things fade by nature. Some are made to disappear.

Evanescent Frequency mirrors a world where decay is no longer organic but imposed, where lifespans—of objects, ideas, and even sound—are carefully engineered to be short-lived. In nature, resonance lingers, and silence comes gradually. But in an age of programmed obsolescence, disappearance is manufactured, ensuring that what was once essential is discarded before its time.

The music unfolds in this same manufactured cycle. It begins with fragments—small pulses of energy, scattered textures that gradually coalesce, gaining complexity and momentum. Harmonies expand, orchestration thickens, and layers accumulate, reflecting the illusion of permanence and progress.

At its peak, the structure begins to dissolve. But this is not destruction—it is an unraveling, an enforced stillness that overtakes what was once vibrant. The density of sound fades into weightlessness, harmonies drift apart, and resonance becomes ghostly, as if the music itself is slipping away into the unreachable. The frequencies do not end abruptly but instead dissolve into an ethereal quiet, mirroring the way things vanish from use yet never fully disappear.

Evanescent Frequency is a meditation on impermanence, on the forces that decide what is allowed to endure and what is designed to be forgotten. It asks us to listen—to what fades, to what remains, and to the silence left behind.

Evanescent Frequency for Orchestra (BBC Symphony Orchestra Virtual Library_Pre-Release)

Imagine a cool summer evening in San Francisco 1964.  All your Hippies have gathered for an apartment party.  The mood is easy.  The times are crazy.  Your buzz is peaking and in  walks Delilah Lilac.  She immediately casts a spell of love over the room.  The room is lifting off into space and it is propelled by her amazing positive spirit.  She has nothing but endless love for everyong and is always the focal point of attention.  All negativity is gone and life is magical again.

Delilah Lillac

Robert Grigg is featured playing guitars on "The Shining One's"





The Shining One's

I performed this drone jam as part of Jamuary 2025 - it's also an exercise for my upcoming performance on February 22 which will be Ambient only. I am running a sequencer called "Rhytmizer Ultra" on my Macbook, playing a random sequence on the Vermona Perfourmer. It's output is routed into the Lyra-8 so I can put heavy distortion and the delay effects on it. All audio goes then into the magic Cosmos and where it creates a beautiful background for the Perfourmer Sounds. 

Ambient Session 012

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Drones: Waldorf Blofeld. 
Beats: Elektron Model:Samples.
Mixed and Mastered in Garageband.

Dream Weapon (part 1-3)

A synapse-popping electro-acoustic soundwalk around Western Europe's cathedrals, chapels and churches, 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔 skews recognizable sacred soundscapes, proposing a contemporary mythology that muddles the past, present and future. Following on from his critically-acclaimed 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 full-length, American sound artist Jake Muir familiarizes himself with German and British sonic architecture by studying some of the medieval shadows that still hang over Europe's streets, even as they continue to evolve. Manipulating environmental recordings captured in Germany and England, Muir presents an impressionistic juxtaposition of parallel cultures: the UK's distinctive "change ringing" technique, where a team of bell-ringers play long varied sequences on a set of tuned bells; and Germany's more sober style, with monotonous peals that add rhythm to daily life.

When Muir moved from Los Angeles to Berlin back in 2019, it wasn't just the German capital's damp weather and long, dark winters that came as a surprise. He was immediately struck by the city's anomalous acoustics, and one particular element stood out: the resonant church bells that echo around Berlin throughout the day to mark time, and for 10 minutes on Sundays as a call for mass. Gathering his field recording equipment, Muir acquainted himself with his new home by following the sonorous clangs, wandering from kiez to kiez to capture each church's distinct auditory flavor. And the more material he collected, the more engrossed he became in the history of bell ringing, prompting a deep dive that would shuttle him across Germany and into Italy, Belgium and the UK.

On 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔, Muir trains his focus on Berlin, where his journey began, and on England, where he encountered the most elaborate bell ringing practice. 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 is a hypnotic lattice of sounds recorded all over the German capital: at Parochialkirche, a reformed church in Mitte; at evangelical church St. Matthäus, at Sophienkirche, another Mitte landmark; and at St. Mathias, a Roman Catholic church just in front of the Potsdam Gate. By fusing the liturgical chimes with snippets of local ambiance - traffic, chattering tourists and birdsong, for example -  Muir takes a blurry snapshot of the city, queering its idiosyncratic color spectrum with his various digital processes. Using reverb to replicate the acoustic properties of both the streets and the church interiors, he subtly disturbs the timeline, stretching out brief peals into long, mesmerizing drones and turning garbled voices into ghostly babble.

The environment alters considerably on 𝘊𝘩𝘢𝘯𝘨𝘦𝘴; Muir uses the same technique and applies it to recordings made at the 1000-year-old St. Oswald church in Oswestry, St. Bartholomew's, Edgbaston and Holy Trinity in Stratford-Upon-Avon, home to Shakespeare’s final resting place. Here, Muir methodically untangles the change-ringing process, linking back to 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 with a single bell tone before moving inside the church itself and documenting the ringers' shouted instructions, blending the calls with the bells' mathematical cyclic patterns. Muir memorializes what in 2025 is a dying art-form - a community skill that's disappearing worryingly quickly as young Brits lose interest in the church and its rituals. Unsettling distortions bite into the undulating sequences and underneath the noise, Muir highlights the music's latent euphoria, drawing out its most celestial tonalities.

File under: devotional music.

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recorded by Jake Muir
audio finalized by Glyn Maier
photography by Jake Muir
design template by Joe Bastardo

Campana Sonans

Erzklang [Preview Clip] (ENM-14)

Global Warming

Bandcamp : https://sleepybutterfly.bandcamp.com/album/global-warming

Embark on a sonic odyssey with "Global Warming," an album of profound depth and impact. Across its 60-minute duration and seven tracks, experience the mystique of cosmic atmospheres, the pulse of futuristic hi-tech beats, and the healing resonance of unexpected harmonies.

As the album unfolds, journey through the cosmic signals, dive into the mysteries of black holes, and confront the cosmic background radiation.

In a climactic conclusion, "Global Warming " addresses the pressing reality of Earth's warming, leaving listeners with a powerful and thought-provoking musical journey.
credits
released March 2, 2024
license
all rights reserved

Sleepybutterfly - Escape The Darkness

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GODDESS

"Performing live and taking the audience on a journey has always been my dream". 
 
59 Perlen is a Music Artist, Performer and Mentor living based im Zurich, Switzerland. He plays house and ambient sets with various hardware setups for diverse audiences. The often minimalist tracks tell a story with combining dubhouse elements and ambient atmospheres while they still remain danceable.

Ambient Session 012

59 Perlen

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