Great ebbs and flows on this one - really cool movement - very creative

Psychomanteum

Another Day Another Lifetime

Dark forest circling
shadows approaching
This papers all I need 
Madness, in focus
3rd eye is opening 
Friends seem like strangers
Time has gone missing 
..sink down in the tall grass 

The sky has turned to glass
Shards of reflection 
I’m frozen to the grass
Purpose, intention 
This papers all I need 
Instant confusion 
Twisted reality 
Sink down in the tall grass..


I wish it was different 
I wish I had opinions 
I wish I could remember 
Times of ancient spender 
I am only breathing for you now 
When will times get brighter 
When will bricks get lighter 
When can I stop breathing 
When will you deceive me
I am only breathing for you now

In this tŵisted reality (I’m) only breathïng

pulswave from verbos complex oscillator waveshaped with joranalogue morph 4 - effect: dedalus delay

hybrid_undefined_10

a motorola duet

Feature-Reel here: www.instagram.com/reel/C9GOZJ_ABse/

There is a certain beauty in additive synthesis. I can compute it with my early-8-Bit-Synthesizer, powered by an 68000 Motorola.

Working from zero frequency, there is an early starting point, when the algorithm takes over the numbers, the frequencies and delivers a sonic representation of their calculations. 

To us, there seems to be life in this. Especially, when imagining, that this only sound, could be calculated one time.

So, I did the same as the Fairlight and took the first approach of my improvised playing. I reduced the takes to only 1 – no retakes, no overdubs, no midi.

A kind of a duet concerning both singular attempts and open outcomes.

Due to computing times of about 5 seconds in between the – nearly not hearable – changes of sound, I had to place 2 little cuts.

Why compute? Maybe because it opens an untold gate to a special resonance and understanding a little about ourselves.

+++
More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at Disquiet Junto Project 0651: Why Compute? – Disquiet

a motorola impromptu (disquiet0651)

2024-06-26

monolith

Recorded, mixed & mastered 20/21 Sep 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2024 Jim Lemanowicz

Tools used - FL Studio, Nimble Tools Misstortion 2, Puremagnetik Pastfabric, Ozone 9 Exciter & Equalizer, native FL Studio effects, Moog MF-104S Delay, kHs Resonator & Ring Mod, Output Portal, samples of rain & electric bass, FL Sakura, Ableton Live and Live native devices, PaulXStretch and the kick sample I used in this week’s Disquiet Junto.

This original version of "It's Umbrella Time Again" was submitted as part of Naviar Haiku 559, Misty Spring Rain

misty spring rains...
umbrellas high and low
aboard the ferry

by: Masaoka Shiki

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge/

Another Day Another Lifetime

Psychic Moth

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