Roberto B (https://soundcloud.com/user-55822457) and I are glad to present our new collaborative track "Double Reflection I". It will be the 1st track in our album in progress under the title "Double Reflections", which we intend to complete in the remaining months of the current year 2021. We hope you'll enjoy this inspired composition of ours, which was spontaneously created overnight!

The artwork cover, that will also be used for our album in progress and all its constituent tracks, is our own, cropped and annotated by Alex M (in Mac OS Preview) on 29 April 2021.

Created in collaboration on 28 April 2021 (initial mix and recording in MAGIX by Roberto B, with subsequent additions, mix and recording by Alex M in GarageBand and Logic Pro) and 29 April 2021 (final mix and recording in MAGIX by Roberto B), and posted on SC on 29 April 2021 (by Alex M).

Thank you so much for this beautiful collaboration, Roberto!

Duration: 7:34 minutes

Double Reflection I - Roberto B & Alex M

Someone promised to wait.
To wait beyond.
Beyond the hourglasses and the mounds of swollen flesh.
Beyond the cuneiform codices, the spiral labyrinths, the bone flutes of extinct birds.
Past the pyramids of time and the colossal granite dolmens slumbering beneath Antarctic glaciers.
But no one came back.

The song is the lament of those who still hope to say goodbye.
To say goodbye fiercely—with their eyes, with their hands, with everything that exists beyond the body.
To part with such violence that reality thins, and the blazing ground of grass takes on the texture of dragonfly wings.
The voice of the one still waiting calls out, demands, roars through the wound that a heavy slab carved with the word “LOVE” can barely cauterize.
The slab of a forgotten grave, in a windswept cemetery on the Atlantic coast.
At the edge of a cliff where—warmed by magma beating to the phases of the moon—earth, ocean, and sky fuse together: into amber, into lead, into cobalt.

When those who wait begin to sing, their voices pierce the unyielding concrete of nuclear reactors, the crust of the earth, the frozen core of the gas giants in the solar system.
Their voices rattle dead loudspeakers, tear through the white noise of radios lost in the ether, whisper in the echoes of abandoned cathedrals, and sigh in crackling exhaustion through the worn-out waiting rooms of hospitals.

You can’t stop their voices from rearing up inside your eardrum, nesting forever in the synapses of your auditory nerve—so you can carry them far.
Perhaps all the way to the one who never received the goodbye.

Pictures: Lht
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Alguien prometió esperar. Esperar más allà. Más allá de los relojes de arena y de los montículos de carne tumefacta. Más allá de los códices cuneiformes, de los laberintos en espiral, de las flautas de hueso de pájaros extintos. Allende las pirámides del tiempo y los colosales dólmenes de granito que dormitan bajo glaciares antárticos. Pero nadie volvió.

La canción es el lamento de los que esperan poder despedirse. Despedirse intensamente. Con los ojos, con las manos, con todo lo que hay más allá del cuerpo, despedirse con tal violencia que la realidad se adelgace y el suelo fulgurante de hierba adquiera consistencia de alas de libélula. La voz de quien aún espera reclama, inquiere, brama a través de la herida que una pesada losa con la palabra "AMOR" apenas logra cauterizar. La losa de una tumba olvidada, en un remoto cementerio azotado por el viento del Atlántico. Al borde de un acantilado donde, calentados por un magma que late siguiendo las fases de la luna, tierra, océano y cielo se fusionan; en ámbar, en plomo, en cobalto.

Cuando cantan los que esperan, sus voces atraviesan el hormigón implacable de los reactores nucleares, la corteza de la tierra, el núcleo congelado de los gigantes gaseosos del sistema solar. Sus voces sacuden altavoces desconectados, rasgan el ruido blanco de las radios perdidas en el éter, susurran en las reverberaciones de catedrales abandonadas, y suspiran crepitantes en las extenuadas salas de espera de los hospitales.

No puedes evitar que sus voces se te enjirafen al tímpano y aniden eternamente en las sinapsis de tu nervio auditivo, para que las lleves bien lejos. Tal vez hasta quien no pudo recibir el adiós.

Llévame lejos

This track is a remix of Hue Solemn by Awrenzas. While the original explores a solemn and introspective mood, this reinterpretation approaches the concept from the opposite end of the color spectrum. The sound design embraces a cold, inorganic aesthetic—structured yet emotionally detached—aiming to express a sense of hue stripped of warmth or sentiment. It is a study in contrast, turning solemnity into abstraction.

Hue Solemn(Olttaoff Mix)

Hold your hands up to the sun,
Dance around, chant a song,
Swing your hips and have some fun,
Stomp your feet, vibrate the gong,
Shake the earth, embrace the air,
Sun is out, it's all around,
Dance your heart in to a prayer,
Listen to the sacred sound,
Circle of sol, enlighten your soul,
Rays of sunlight, solar power,
We are human, we are whole,
Consuming the sun like a sun flower,
Yellow sun that bakes the earth,
Essence of life it gives to we,
Fuel for the plants, bolsters the birth,
Taste the sunbeams, blaze of glee.

Oh, the golden mask of Ahau,
Oh, the golden mask of Ahau,
Oh, the golden mask of Ahau,
Oh, the golden mask of Ahau.

Sundance of Ahau - Raw Tracks version

Horcrux 5 (Illusioni e disillusioni)

original track composed by
Marco Lucchi : acoustic guitar and programming

with
Garrett Fisher : oboe
Geoff Warren : flute
Roberto Corsini : electric guitar

(live recording, Carpi 2010)

*

reimagined by 
Antonio de Braga : drums and electronics

featuring
Henrik Meierkord : cello

Bandcamp

Marco Lucchi & Ensemble - Notturni [finale] reimagined by Antonio de Braga (feat. Henrik Meierkord)

Dark Ambient with synth, noise and Bass Drums. Theremin & Kaospad played in noise lines

1 - B

Xamana Sugaropa

Part 4 of the final track of Then She Reaches For The Gun's 2nd Album
released in Jan 2025 - nomatesensemble.bandcamp.com/album/i-am…m-with-you.

Then She Reaches for the Gun was formed in 2021 by Mat Ward. At its essence is sound collage, Ward invites musicians, sound artists, poets and anyone interested to send him files to be used, abused and showcased ‘as suggested by the work’. They are not always musical but field recordings, spoken word, engine noises and drunken rants. Animals participate a lot too! The raw material is arranged with one phrase asking for the next in an alchemical and intuitive process that will most often feature dozens of tracks weaving in and out of each other, colliding, harmonising, arguing and laughing along the way.

Both the aesthetic and the compositional methods use what Frank Zappa called Xenochrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions.The work also features fragmented story telling with the human voice (in many languages) appearing unannounced throughout the tracks offering up snippets of thoughts, conversations, jokes and existential angst. The absurdity of humanities desperate claim to have any real understanding of its place in the universe is revealed through the recorded follies and genuine emotions of the artists. The project is a celebration of chance, diversity and community. It pays homage to all musical tastes and genres whilst maintaining a sense of humour and irreverence that is needed to stay sane in the climate of 21st Century contemporary culture.

Then She Reaches For The Gun is

Humans

Adam Meredith - Ford XD with XF front mods/Voice
Ambient Annie - Electronica/Field Recording/Voice
Andrew Harper - Field Recordings
Angostura Elwar - 2 x Behringer CRAVE analog synths/Yamaha P200 electronic piano
Antonella Eye Porcelluzzi - Text/Voice
Ariad Music - Clarinet/Percussion/Piano
Axel Weiß - Electric Guitar/Robot Voices
Banalytic - Experimental Electronics
Belial Pelgrim - Digital Strings/Electronica
Brendan Corey Benson - Electric Guitar
Carolyn Wigston - Voice
Chicago Word Brigade - Electronica
Dan Hewins - Bass Guitar
Dane Renshaw - Drums/Voice
Dani Kirby - Keyboard/Piano/Voice
Dylan Banks - Intonarumori/Voice
Frank Wilke - French Horn/Trombone/Voice
Garbage Truck Disco - Drum programming/Electric Guitar/Joyous Pop Punk
Glenn Ward - Electric Guitar/Skyhooks
Hakan - Moog Voyager XL
Hverheij- Drums/Electric Guitar/Synth
Johnny Python- Bass Guitar/Drum Programming/Electric Guitar/Text/Voice
JZsuperstar - Electric Guitar/Field Recordings/Keyboards
Lady ElectroTrek - Organ
Libby Laksmi - Jazzy Loops/Synth Bass
Loop(c)y - Electric Guitar
Malo Bernard-O’Meara - Drums
Maxx Black - Guitar/Ukulele
Minimal Drone Girl - Cat Wrangling/Field Recordings
Oberlin - Eurorack/Piano
Paolo D’Emilio - Electronica
Paul Miller - Electronic Percussion/Keyboards/Phat Electro Bass
Phil Bywater - Saxophones/Voice
Raul Mainer - DAW Programming/Heavy Metal
Robert Jefferson - Akai Rhythm wolf/GakkenSX-150 ll/Korg Kaosilator/Percussion
Rosin Dust - Violin/Field Recordings
Sarah Megahertz - Speedway Noise
Scratch Kelly - Beats/Electronica
Stan Magendanz - Electronica
Ten Atmospheres - Field Recordings/Synths
Texmex Shaman - Electric Guitar
The Windscale Blues Experiment - Clarinet/Flute/Saxophones
Timothy Korstad - Demons/Electronica
Thomas Bergheim - Bass Guitar/Electric Guitar
Tobias Schmitt - Electronica/Processed Organ/Text
Tuonela - Demons/Electronica
Vartch - Drones/Things/Trousers (not T-shirts)/Voice
Widar’s Spiritual Front - Electronica/Ms Pacman
W:I:L-o’ the-wisp - Bass Guitar/Electric Guitar/Electronica
Wivresse - Electronica/Voice
Zanshin - Acoustic and Processed Drums

Mat Ward - Arrangements/Bass Guitar/Double Bass/Field Recordings/Intonarumori/Marimba/Noise/Percussion/Piano

Dogs
Boogie
Brophy
Buddy
Hancho
Jack
Momo
Neska
Poldo
Senna
Shyamsundara
Star
Oily (cat)
And many cows from Milis, Sardinia

Cooking Hard Boiled Eggs in a Cheap Motel In Adelaide Part 4

Title: The House in the Woods, Part I
It was the kind of Sunday that felt like an Indian Summer—soft golden light filtering through the canopy, the hum of tires on gravel, and the scent of pine and late-blooming wildflowers drifting through the open windows. Harry and Elise had no destination, only the pleasure of each other's company and the winding road ahead.
As they rounded a bend, Elise leaned forward, her eyes catching something through the thicket.
“Darling, please slow down and turn around,” she said, her voice tinged with wonder. “Did you see that home back there?”
Harry glanced in the rearview mirror, puzzled. “No,” he replied, “but I’ll go back for you, dear.”
He reversed slowly, the tires crunching over fallen leaves. There, nestled deep in the woods at the end of a long dirt path, stood a Victorian house—its silhouette grand yet weary, like a forgotten melody. The gables were ornate, the windows tall and shuttered, and ivy curled around the porch railings like nature’s embrace.
Elise stepped out of the car, drawn as if by memory. “It looks like it’s been waiting,” she whispered.
Harry joined her, brushing aside a low-hanging branch. “Waiting for what?”
She didn’t answer. Instead, she walked toward the house, each step stirring the silence. The air grew cooler, the light dimmer beneath the trees. A strange feeling came over her being, as if someone was watching and following them.  A rusty hinged door creaked open with a cry, as the couple crossed the threshold into a place where time had folded in on itself. 
Inside, dust danced in shafts of light. A piano stood in the parlor, its keys yellowed but intact. Portraits lined the walls… faces half-faded, eyes that seemed to follow. Elise ran her fingers along the banister, pausing at a carved initial: E.
“Harry,” she said, her voice trembling, “I think I’ve been here before.” (To be continued... )

Music composed and performed by Jennifer L. Jones
Story Concept, Characters, Development of Story by Jennifer L. Jones with a little help from Copilot

The House in the Woods, Part 1

"Modular Residue"

I have always admired music, of diverse styles. Like most of us, I have tried learning to play a few instruments at a basic level in my teenage. But it is only now, in the 21st century, that modern software allows anyone to fool around being the composer, the designer of a whole composition, simpler or more complex, organising together the parts of the various instruments - and to hear the results of this experimentation or inspiration instantly! That is how I have recently begun enjoying the distraction of attempts at composing during my leisure, discovering an amazing dimension of life, and art, perhaps the most intangible, heightening and hypnotising one, and the closest to the soul... (21 August 2017) ... Forgot to mention: music is for sharing - that's why we are all here! (4 September 2017)