7. SLOW - FAST

There are many things that we cannot accurately perceive, and the concept of "time" is probably one of them. Since ancient times, many philosophers and thinkers have explored the topic of "time," but I believe that we still do not understand time itself, let alone changes in time.

Suppose you meet a friend for the first time in 10 years. You will start with "How have you been?" or "What are you doing now?" Then you would gradually start talking about different things, trying to make up for the 10-year gap, forgetting about yourself. You left the house with plenty of time to spare, but before you knew it, it was time to go to your next destination. Such an experience is quite common. You have lost control of yourself in the midst of regular time because your consciousness has been diverted to an unexpected turn of events.

If you are listening to this track and your consciousness is directed to something other than the track, and the stronger that consciousness is, the less likely you are to notice the changes that are occurring in the track.

Our innate ability to perceive is not that strong, and the world is full of things that we cannot find unless we actively seek them out.

Produced by Hidekazu Imashige
Cover Art by Hidekazu Imashige

Transition 7

Solo Piano - Chris Bright

soft landing - 7:26:23, 8.27 PM

Congratulations to Marco on reaching haiku 500! :)
Andrea Cecon's peaceful haiku led me to this improvisation (in D Dorian - yes, it's probably my favourite mode). Played on LABS (by Spitfire): Soft Piano VST. Recorded and mixed in Reaper, with added effects: Valhalla Shimmer and Valhalla FreqEcho. Mastered with CloudBounce.
Naviar haiku challenge: www.naviarrecords.com/about/naviar-haiku/

Morning Solace (naviarhaiku500)

With this album, Glåsbird's 'A Sonic Expedition' draws to its close. It began at the North Pole, in the frozen waters of the Arctic Ocean and it ends at the South Pole, on the world's least populated continent; the ice-capped desolate grandeur that is Antarctica. It had been suspected that this land existed long before it had been discovered and many had died in their pursuit to find it. Some may even have died as a consequence of accidentally discovering it, through detoured voyages striking into glaciers.

The music here in Antarctica returns to Modern Classical, as the artist comes full circle. Echoes of 2019's debut album set in Greenland can be felt in places, as soaring violin and cello collide. However, these 8 tracks gather up the compositional and technical learning throughout the series, as Glåsbird looks forward to the challenges of the future.

The photography in this album is from Oceanographer Neha Ramsarup, who traveled on the South African polar vessel SA Agulhas II, deploying instruments and collecting seawater samples along the voyage from Cape Town (South Africa) to South African National Antarctic Expedition (SANAE IV). These trips are joined by a range of marine scientists, whose keen interests lie in ocean properties such as sea ice and weather as well as mammals, birds, whales and penguins who call these polar regions home.

This series of 8 albums has been a world of discovery for this anonymous composer, as their work etches into sound the hours of inspiration drawn from vintage maps, documentaries, Google Earth explorations and countless articles. Along the way, a familiar theme threads through the work as at every turn, Glåsbird's studies led to the events of climate change. The devastating effects are real, with melting glaciers, rising seas, disintegrating ice caps, wild fires, war and warming seas unintentionally finding their way into the concepts of this series.

As a clear juxtaposition to this, the sheer beauty of our world is also uncovered, with the work of visual artists helping bring this to life through the album covers and packaging imagery. There's an enormity and poignant feel to the music too, as melancholy classical notes extend through an eerie chill, or sun-bleached tapes explore hidden islands and tropical climes. The natural beauty of our world can be felt throughout this collection alongside a sense of despair too, at its apparent demise. Humans are doing what they can to build a momentum of awareness on our tired old planet, through education and urgency. It is hoped through this series that it can add to this movement somehow even if in a small way, to build a sense of care for our planet.

releases October 14, 2023

Written and produced by Glåsbird
Mastered by James Edward Armstrong
Photography by nehar63 - www.instagram.com/nehar63/
Art and design by Andrew Heath

Antarctica

wlr144 glåsbird - antarctica

2023-09-20

Merge With Nature

"Fuglane" means "the birds" in Norwegian (nynorsk to be more precise).

On this track we played piano with reel to reel tape delay and bowed electric guitar, pluss a field recording of birds (also on tape).

#ambient #ambientpostrock #bowedguitar

Fuglane

**Chapter 1: The Journey Begins - A Blue Night: A Harmonious Duet**  
On a serene and magical blue night, a beautiful melody known as "Saga" floated through the air. Its enchanting tune had the power to whisk listeners away into a space of calm and introspection, all under a canopy of twinkling stars. And to top it off, Saga has a sister whose beauty is equally enchanting.

Fun fact: That distinctive "racketball snare sound" that emerges midway through Saga's music was crafted by Nigel Stanford. His unique touch has made a lasting mark on the music world.
https://soundcloud.com/nigelstanford/2-06-the-edge?si=2f1557e3caa24dbeb9578ef44db7eaaf&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Bluenight - Part I - Saga: Final Remaster

to breathe

Album made by BGZ31 on YouTube.
The representation of a dream by music, with some extra songs.

(This version removed the crackling vinyl sound effects in the background)

SLEEPING

Ambient Aura 1 is the first compilation of ambient music from or label Aeon Records. Featuring a variety of artists and styles.

Free Download

Linga Sarira

Chrysalis Extract

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

soft landing - 7:26:23, 8.27 PM

Chris Bright

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