Seems to me the idea is exactly this, I have treated as this without clearly expose the idea and its formal, that I am searching personally, not for other people as you, to technically musically translate. You're reason, it is hardly difficult, but possible.

Hello! Here is a new collab! I bring my keyboard, clarinet and glockenspiel to the awesome drums of my friend @soundsofthekosmos. If you like this, don't miss to check our album "HIGHFLUX": https://ariad-music.com/music/highflux

Defrosted Sun

(Artwork by Jiri Buunk)

made in Ableton Live 11.1 Suite

all samples and presets home brewed

2 samples used for Simpler; a rythmic sample made in Reason 11 Suite, that plays at different 'speeds' and some other different settings.
that is 2 x Simpler..
and 1 Simpler for the vocal sample.

so:

3 x Simpler
1 x Parsec (Reason Rack Plugin)
1 x Unfiltered Audio LION (MPE)
1 x Dawesome Abyss (MPE)

and several effects, mostly the built-in ones.. some spectral magic..

mastered in Wavelab 11 Pro with SpectraLayers 8 Pro

(Final or Fatal Version of These Are The Dreams)

These Were The Dreams

Look

Window

a track by Marco Lucchi re-imagined by Mean Flow

ottobre 2022

Mean Flow & Marco Lucchi - Nova Ilusão

Demo ......

🎶〽️🎶

"Az ember, aki a napot tartotta" 

című história hetedik zenei része :

1. Fehu - az első rúna - vagyon, belső gazdagság, tisztaság szimbóluma - Freyjához kötődő mitikus kapcsolat

2. Uruz - a második rúna - életerő, megszelídítetlen erő szimbóluma - Audhumlához kötődő mitikus kapcsolat

3. Thurisaz - harmadik rúna - védelmi és pusztító erő - Thorhoz kötődő mitikus kapcsolat

4. Ansuz - negyedik rúna - a bölcsesség, a fejlődés, az intuíció és a beszéd rúnája - Odinhez kötődő mitikus kapcsolat

5. Raido - ötödik rúna - az utazás, a fejlődés és az új látásmód rúnája - Forsetihez kötődő mitikus kapcsolat

6. Kenaz - hatodik rúna - a látomás, az inspiráció, a felvilágosodás, a karizma, a vágy és az élet tüze - Freyjához kötődő mitikus kapcsolat

7. Gebo - hetedik rúna - a hűség, a megbocsátás, az egyensúly és a fizikai-szellemi nagylelkűség rúnája - Odinhoz és Freyjához kötődő mitikus kapcsolat

https://hamarcsi.com/portfolio/runestones_the-man-who-held-the-sun/

🎵〽️🎵

GEBO - Runestones

Mossa Och Sten I

Building on the Us/Them narrative… equally separate… A relatively relaxed vibe, started by Josh… I played some @ instruments, ha!.. Tez rocked out, and twirled behind “ The mixing console @ ground zero” check out 
#Entheogenic Psychonaught #Llanpsych… hope you enjoy!

A Separate Reality Entheogenic Psychonaught /Llanpsych/K2 and the Three

Homeward Bound

As always, feel free to add something or alter it
Artwork: https://journalofanobody.tumblr.com/post/183466208747

Who Is In Charge, But I Dont Know Who

Claudia Jane Scroccaro - Overdrive (2020) 

Ensemble Musikfabrik
Carl Rosman, Bass Clarinet
Ulrich Löffler, Piano
Florentin Ginot, Double Bass

Rie Watanabe, condutor


Recorded live on the 6th of September 2020
Réfectoire des moines - Abbaye de Royaumont 

Lauréat de la Fondation Royaumont
Œuvre écrite dans le cadre de l’Académie Voix Nouvelles 2020

* * * * * * * * * * * * * * * 

Overdrive refers to the fuzzy and growly tone, produced by distortion in audio signal processing, often associated to electric instruments and mostly heard in Blues, Rock and Punk music. In my latest works I’ve been intrigued by bringing to the foreground the physical tension existing between the musician’s body and the body of his/her own instrument, in the act of playing, which is determined by the nature and production of specific sounds, like microtonal oscillations, capable to project the listener in immersive spaces and ever-changing spectra. In Overdrive, the necessity to enhance the energy and sonic (at)tension existing among three musicians confronted with such large instruments, able to produce very low frequencies, determined some extreme sonic and instrumental research together with the members of Musikfabrik, moving some steps forward, by bringing the consequences of this reflection over its limits.

Overdrive (2020) for Bass Clarinet, Double Bass, Piano

In a constant pursuit of a theatrical dramatization of sound, I am deeply interested in electronic music, music of oral tradition and, for their physical presence and sonic qualities, bass instruments. By delving into the physical connection between the musician and the large instrument, I aim to transport listeners into visually engaging compositions, where micro-rhythms and grooves hold a central role. One of my main concerns is represented by an effort to develop structures based on techniques used for sound synthesis and electronic treatments. More generically it reveals my lifelong compositional aim: that is to attain a consistency between the approach in composing for instruments as well as for electronics, an approach that I attempt to integrate and structure through computer-aided composition tools that I personally develop. 

Raised in one of the "Pasolinian" working-class neighborhoods in the West side of Rome, and having spent most of my adolescence in direct contact with the street, I have always been drawn to the poetic violence of this reality. The tension between a personal inclination for introspection and a life deeply entrenched in a vibrant, yet challenging, urban environment has been a constant companion, shaping and defining my creative persona. 

In my music, this tension gives rise to a dramaturgy that oscillates between two extreme temporalities, leading to a dynamic interplay between kaleidoscopic movements and introspective explorations. One is tethered to overwhelming, vertiginous, overflowing, and compulsive rhythms, while the other is more intimate, poetic, and intertwined with the expressivity of the spoken word – like in the song cycle Gradual Abruptness (2022), on the verses of the Italian poet Amelia Rosselli (daughter of the anti-fascist partisan Carlo Rosselli).

These axes of research find contrasting artistic declinations, leading to the composition of [S]toccata (2019) and High Voltage Toccata (2021), – where the pianist and organist are challenged in a body duel with the instrument  – of I Sing the Body Electric (2020) – where the double bass becomes one organic body with the musician and with the electronics – in Overdrive (2020), a low-frequency trio, transposed into a distorted and paroxysmic world – or, again, in Lignes à Haute Tension (2023) for 12 spatialised cellos ¬– where the conductor, in the center of a network of instruments, controlling the trajectories of sound in space. 

Ongoing Projects :
On the Edge, for 6 soloists choir and electronics
Texts by Amelia Rosselli, Sylvia Plath and Dino Campana
Premiere : SWR Vokalensemble / Donaueschinger Musiktage (Donaueschingen, DE) / 2024

Espaces Blancs, for soprano, clarinet, trumpet, double bass and electronics
Premiere : Commande d'État : Mathilde Barthelemy / Compagnie Angle Aigu / GMEM / Festival Propagations
(Marseille, FR) / 2025

Faro, for soprano, ensemble and electronics
Esemble Musikfabrik / Festival ManiFeste / IRCAM (Paris, FR) / 2025

Overdrive (2020) for Bass Clarinet, Double Bass, Piano

cjscroccaro

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