what an awesome remix. love when the drums come in. great work!

KEY III

Chimera

The music is my contribution for the Naviar Records naviarhaiku620 challenge - Some Starlight

some starlight
spared from being scooped up
four-handed net

by: Kinsha

For more about this challenge, see (https://www.naviarrecords.com/naviarhaiku620-some-starlight/)

On YouTube at (https://youtu.be/vwCnPb5fSto)

Photo by Alvis Taurēns (https://unsplash.com/photos/the-night-sky-is-reflected-in-the-water-em9AVHTPSQM)

net of the night (naviarhaiku620)

Collective Resonance pt.IV.

This track was created for the Naviar Haiku group.
622
https://www.naviarrecords.com/naviarhaiku622-under-the-burning-sky/

Under the burning sky - (Naviarhaiku 622)

Made for the haiku challenge 623 of Naviar records.

“Don’t pick it!” then picks and gives to me a garden plum

by: Tan Taigi

Tan Taigi was a haiku poet of the Edo period. He was a wanderer for most of his life and admired by Yosa Buson for his ability to transcend his eclectic and unconventional lifestyle with sublime poetry.

More informations about haiku challenge:
https://www.naviarrecords.com/haiku-music-challenge/

Don’t pick it! (naviarhaiku623)

Paul Mimlitsch -bass clarinet, mix (1st take)
Alex Hegyesi- prepared cimbalom, electronics, photo

Collaboration via  internet, 2025
more music from Paul https://paulmimlitsch.bandcamp.com/album/session-092924

ci-el-cl

This track pairs with Warmth and Meaning. Two tracks made over two days using similar processes and serendipitously similar sample sources (same notes, different instruments, and two samples separated by about 30 years). 

I've been inspired lately by the folks from the Studio Obscura discord group* using tape loops (or similar kinds of processing techniques) to create these beautiful saturated walls of sound. 

I went down a massive rabbit hole exploring these ideas and while I was trying to understand how the Instruo Lubadh tape looper module works, and so I set the DAW recording and made a really long jam just playing with these tiny piano grains on the Intellijel Multigrain into the Lubadh, with a field recorder and a reverb - and oh my god - it's just a magical world-creating machine.

Honestly I feel like I could sell everything else and keep these three boxes and make music until I die. 

The source recording had a lot of very high-end noise from a rogue connection that I didn't notice until I played it back, so I had to go full Bleeptwig on it after that with EQ and layering in textures that ended up shaping it in a really beautiful way. 

(The piano was added in this version, originally I'd planned a single note just to connect couple of sections and the background ambience to the foreground, but then it turned into this little kind of lament, so I plan to go back and rework the original to be even more ambient at some point.)

Anyway.

* Ping me if you're interested in joining the group, just some really great folks making mostly ambient music, most of the time.

Comfort and Light

25Dec25
https://naviarlab.tumblr.com/post/803815667754254336/naviarhaiku625-in-this-snow
😊

yesterday [naviarhaiku625]

Made for the haiku challenge 625 of Naviar records.

In this snow — yesterday was the sound of a voice.

by: Maeda Fura

Maeda Fura (1884–1954) was a Japanese haiku poet. In 1912 he published in the journal Hototogisu, where his work was praised by Takahama Kyoshi, who called him one of the best haiku poets of his time. A journalist by profession, Fura lost his possessions in the 1923 Great Kantō Earthquake and after years of travelling, returned to Tokyo, where he died in 1954.

More informations about haiku challenge:
https://www.naviarrecords.com/haiku-music-challenge/

In this snow — yesterday was the sound (naviarhaiku625)

An energized remix of the wonderful Learning to Say Goodbye, by Our Forgotten Future.

Say something.

I love how Our Forgotten Future's work builds up slowly into these emotionally saturated scenes - and I find this form lends itself perfectly to these kind of driving, layered pieces that add rhythmic energy to take these textures into new directions.

I processed the whole tonal layer (minus the field recorded parts) through a resonator, distortion, saturator, and through multiple reverb layers to get this slightly gnarly polyrhythmic element with some scattered snares - initially random then meticulously edited and placed ... and the bass drum was kind of inevitable. 

(The whole track is not quantized at all, I'm sure it will annoy any drummers out there and if anyone did ever try to mix this they would have a challenge :D)

I am hopeful for more collabs like in 26, it's so satisfying and rewarding to work with other artists whose music resonates. Here's to the producer community.

Say something (a remix)

Intensive ambient explorations and other stories.

Say something (a remix)

Bleeptwig

Recent comments

ellipses

Tankelyd

SoundWarper

Related tracks