Name: Stretching Ahead (naviarhaiku552) - Adrian Lane by Adrian Lane :
Duration: 2 min 15 s
Description: A track produced for Naviar Records Haiku Challenge; 7 days to write and record a track in response to the haiku posted.

Artificial Gratification

as recorded, apart from a slight reduction in clicks
2nd version
still in progress

senza titolo

NAVIARHAIKU536 – TALL, WIDE-ARCHING TREES
April 10, 2024
Tall, wide-arching trees
Assume a cathedral shape
Until darkness falls
by: John Hinks

Sit tibi terra levis.

Un ipotetico viaggio tra stanze, idee e ricordi. La memoria è lo strumento per rispettare e trattenere vite presenti e passate.


Sit tibi terra levis.

A hypothetical journey through rooms, ideas and memories. Memory is the tool to respect and retain present and past lives.

John's Rooms(naviarhaiku536)

Marco Lucchi, based in Modena, Italy, and Henrik Meierkord, based in Stockholm, Sweden, have a lengthy collaboration to their reciprocal credit, and they accomplish it far and near alike. A testament to the interplay of their work together is that a listener might be hard-pressed to discern which of their recordings are the result of long-distance file-trading, and which occurred when the two managed to be in the same place at the same time.

Several aspects of their respective music-making serve them well as creative partners. First of all, both tend toward the ambient, given as they are generally to a slow pace and to a sensibility that manages to be at once radiant and intimate. Secondly, while both are multi-instrumentalists, there is a complementary nature to their specialties, Lucchi being more of a keyboardist, Meierkord more of a string player. Thirdly, and perhaps most importantly, they are both immersed in techniques drawn from electronic music.

In particular, both men are experienced with live multitrack recording, in which they process and layer their own performances in real time. Meierkord is fond of layering sinuous tones to create scenarios of unique dimensions. It becomes uncertain — even unimportant — to the listener what preceded what, so intricate is his deployment of interplay. Lucchi likewise finds parallels between classical orchestration and the opportunity for drones lent by modern synthesizers; in a small room he can create a vast space. There is often an oceanic depth to such efforts, part composed and part improvisatory, in which playing is a tool toward composition, rather than the other way around.

Throughout their new record, there is an underlying melancholy, a nostalgic beauty, and a reflective consideration — a virtue that is foundational to their ongoing collaboration. The result is particularly rich in plaintive scene setting, as on the glacially paced “La bestia umana,” which emerges from a neighborly field recording of a dog barking, and “Kosmisk Strålning II,” which maintains a dream-like quietude, more shadow than light. One “Like tears in rain”, what sounds like a synthesizer is, in fact, a piano, a recording of which has been stretched beyond the point of it being readily identifiable.

On first listen, their leaning toward unimpeachable steadiness can seem uniform, but listen more closely and you’ll recognize how explicitly they emote on a track like “The Third Stage,” due not just to the reaching melodic surges (which, in turn, match the sampled recordings of bird calls) but to the slight discordances that suggest trouble and tension. In a different manner, there is “A warm and golden October,” which balances breaking-dawn hush with piercing overtones. That track features a motif at the end, played on a celesta; those bell-like tones edge the piece out of dreaminess without entirely breaking the spell.

The greatest outlier — dog barking notwithstanding — may be on “Oändlig,” not just for its fierce pulse, but because of its more immediately electronic vibe. “Oändlig” is an exceptional piece, bringing to mind the minimalism of Terry Riley and the rave classics of Underworld.

Marc Weidenbaum 


Produced and mixed by Marco Lucchi and Henrik Meierkord
Marco Lucchi: mellotron, piano, celesta and synthesizers
Henrik Meierkord: cello, viola, zither, piano, organ and FX
Mastered by Dionis Afonichev (Dionisaf)
Cover picture by Dionis Afonichev (Dionisaf) with AI
Artwork and cover design by Dionis Afonichev (Dionisaf)

https://www.chitrarecords.com

Lieder Ohne Worte

Oändlig

PORTRAIT OF A PUMPKIN

The Assignment: Record music for a party of your choosing.

Step 1: Imagine a party you want to attend.

Step 2: Write some music that would be appropriate as background music for that event.

More on the 644th weekly Disquiet Junto project, Event Horizon — The Assignment: Record music for a party of your choosing — at https://disquiet.com/0644/

party music [disquiet0644]

More on the 647th weekly Disquiet Junto project, Day Drone — The Assignment: Make some daylight drones for Drone Day — at https://disquiet.com/0647/

The original image associated with this project is by Guillaume Pelletier, used with a CC BY-SA 4.0 license.

https://commons.wikimedia.org/wiki/File:Drone_bee_(32-image_macro_stack).jpg

https://creativecommons.org/licenses/by-sa/4.0/deed.en

Sunshine on a Cloudy Day Drone [Disquiet0647]

071424bc2

A track produced for Naviar Records Haiku Challenge; 7 days to write and record a track in response to the haiku posted.

Stretching Ahead (naviarhaiku552) - Adrian Lane

2024-08-16

Atmospheric Disturbance

Music by Stu King
Fender Classic Acoustic Guitar
Gretsch Streamliner & eBow
Korg Monologue Synth
Digital Delay
Reverb
Hologram Microcosm
Mixed in Cubase

Field Recording by Stu King

Black Sand

Visual artist, and musician. Adrian Lane creates instrumental neo-classical, ambient music and abstract textural mixed media paintings, many of his paintings can be found on the cover of his albums.

Stretching Ahead (naviarhaiku552) - Adrian Lane

Adrian Lane :

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