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Nocturnal Animals

Usdhiuvhsogf#

Lyrics by C.

The day is wearing a thousand shades of fall
Red, green, brown, and lucid as rain
Home is where the stories are insane

The drops of rain
I’m falling again
Towards the path of thee
It’s another lemon tree

Average 
The one I don’t belong
The one that keeps me mighty and sharp
As the thunder keeps the light

I fall for the shades 
And it falls into place to alter the origins of mine
Into a home for every soul

Containing There is no such thing 
For that infinity is the only word
I can take shelter under the loopy roof

Here are my lines
And if you look closer
You’ll see yours
Just between the lies

Not the one of repetition
But some just can’t keep it in the momentum

Here are the shadows
I’ve been ready to share

Here are the meals
I’ve been in to prepare

Here are some of the shades
Not meant to fade further away
For that, I have many homes to ride in the say

Shades

John Chantler And Daniel M Karlsson - 6.12.23 [excerpt]

SenSen & João MS - Sorry, I Am Late

Buy: https://clocolan.bandcamp.com/track/im-afraid-to-look-out

Video: https://www.youtube.com/watch?v=5dOAGOVKp1w

Composed, produced, and mastered by Emlyn Ellis Addison
Recorded April 2024 in Providence, Rhode Island

Released by Redpan, catalog No. RP009

I'm Afraid to Look Out

I'm Afraid To Look Out

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

The Third Stage

Disquiet Junto Project 0643: Stone Out of Focus
The Assignment: Make music inspired by a poem.

Step 1: This project is inspired by a brief poem by Yoko Ono, in which she wrote, “Take the sound of the stone aging.” Consider that sound.

Step 2: Record your impression of the sound of stone aging.

Background: This week’s project is based on a text by Yoko Ono, originally published in her book Grapefruit 60 years ago, back in 1964.

Tasks Upon Completion:

Label: Include “disquiet0643” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0643-stone-out-of-focus/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you.

Deadline: Monday, April 29, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/ 2

Newsletter: https://juntoletter.disquiet.com/

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).

Please Include When Posting Your Track:

More on the 643rd weekly Disquiet Junto project, Stone Out of Focus — The Assignment: Make music inspired by a poem — at https://disquiet.com/0643/

This week’s project is based on a text by Yoko Ono, originally published in her book Grapefruit60 years ago, back in 1964.

Closely watched rocks - disquiet643

𝐀𝐫𝐭𝐢𝐬𝐭: SUZA DE MALVIKAT X LELIO
𝐓𝐢𝐭𝐥𝐞: LOVE & WAR EP
𝐋𝐚𝐛𝐞𝐥: INSANE INDUSTRY RECORDINGS
𝐆𝐞𝐧𝐫𝐞: Techno / Industrial
𝐅𝐨𝐫𝐦𝐚𝐭: Digital
𝐂𝐚𝐭𝐚𝐥𝐨𝐠𝐮𝐞: II265D
𝐑𝐞𝐥𝐞𝐚𝐬𝐞: 03 July 2025

𝐀𝟏. Battements Synthétiques (Original Mix)
𝐀𝟐. Love & War (Original Mix)
𝐁𝟏. Nuit Mécanique (Original Mix)

𝐌𝐚𝐬𝐭𝐞𝐫𝐞𝐝 𝐛𝐲 𝐋𝐨𝐛𝐨𝐭𝐨𝐦𝐢𝐣𝐚 𝐚𝐭 𝐒𝐭𝐮𝐝𝐢𝐨 𝐂𝐕𝐋𝐓
𝐀𝐥𝐥 𝐑𝐢𝐠𝐡𝐭𝐬 𝐑𝐞𝐬𝐞𝐫𝐯𝐞𝐝,
𝟎𝟑 𝐉𝐮𝐥𝐲 𝟐𝟎𝟐𝟓
𝐂𝐚𝐭. [𝐈𝐈𝟐𝟔𝟓𝐃]

FREE DL

BATTEMENTS SYNTHETIQUES

Simple experiments geared towards performance, these pieces were recorded using Monome mlr & Grid, Organelle/Orac, Montreal Assembly CT5, Chase Bliss Audio Mood, and Mutable Instruments' Rings & Clouds.

I hope you'll enjoy!!

Performed/Recorded by D.Harper 6/2020

Mastered by Porya Hatami
http://poryahatami.com/

Poppy botanical by Walter Müller, 1910

Root

From the Castles In Space bandcamp page at:
https://cis-isolationtapes.bandcamp.com/album/the-isolation-tapes-compact-disc

This album contains music recorded by artists in lockdown during the 2020 COVID-19 Corona Virus Pandemic.

Submissions were invited for tracks recorded and mixed only between 23rd March and 17th April, 2020 at the start of the UK quarantine period.

Castles in Space would like to express sincere gratitude to all the artists who gave their time and submitted their works for the project and thereby made this release possible.

Mastered by Jez Butler
Artwork and design by Nick Taylor for spectral-studio.co.uk

CiS062MC is also available as a related cassette volume featuring an additional selection of works.

All tracks are under license to Castles in Space for the purposes of this release and all copyright remains with the artists.

Profits from this album will go to support Cavell Nurses’ Trust (registered charity no. 1160148 and SC041453).

Cavell Nurses’ Trust proudly give money and support to nurses, midwives and healthcare assistants in hardship whether they are working or retired.

If you are a healthcare professional experiencing personal or financial hardship, please contact them today at: www.cavellnursestrust.org / 01527 595999.

I'm Afraid To Look Out

clocolan

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