Composed with the materials created during the dance project "I WANT TO BE A SWAMP" by Yolanda Morales and the team.

Soft Contamination

HAIKU MUSIC CHALLENGE

Naviarhaiku 564

Fog clears away:
the waterfall shows up
bit by bit.
 
Undoubtedly one of the most important Japanese novelists in modern history, Natsume Sōseki began his career publishing haiku and renku poems in a number of newspapers and periodicals. Early in his career he met Masaoka Shiki, who encouraged him to become a writer and tutored him in the art of composing haiku.

Between 1900 and 1903 he studied at the UCL in London, but this proved to be quite a dramatic experience for the young Soseki. Despite this, when Soseki returned to Japan, he exploded into prolific writing activity.

Haiku by Natsume Soseki

Picture by Ifan Bima

Submission deadline: 30th October 2024

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Endless Descent

Endless Descent (naviarhaiku564)

In the Absence of Time

Inconsistent

Snow*Omen/Velvet Something Superdark collaboration based on Lou Reed's "Perfect Day" (1972). Recording of partly improvised live performances (Y.A.: voice, fretless 4-string-cbg, e-bow, VSS: electric guitars, pedal noise, background voice). All sounds: @snow_omen. Mixing and production: VSS.

Perfect Day, Extended

a cloud shadow (naviarhaiku572)

Spine

Marco Lucchi : piano and found sounds

https://freesound.org/people/felix.blume/sounds/779962/

*

for the current Naviar Haiku challenge
https://www.naviarrecords.com/naviarhaiku573-years-end/

*

Year's end,
all corners
of this floating world, swept.

by: Matsuo Bashō

*

30 dicembre 2024

Marco Lucchi - [year's end] Farewell [Naviar Haiku # 573]

Music by https://soundcloud.com/marcolucchi 
Sonopoem and mixing by Ilaria Boffa
This piece is included in the work 'Intrusion' by the EAPS Collective.

+1
'I might embody the igneous bodies, carbon and non-carbon-based, forced through existing formations.
Settle like the dregs of the liquid left in thousands of bottles plasticizing the oceans.
I might recycle into non-recyclable thermal paper and coat with dyes and sensitizers and stabilizers and vaporise with heat. I’d roll.
Rolling and rolling, squeezing, a can, at each kick a bounce forward, future-ing. 
I can sense myself hovering, the +1 part per millions of CO2 trying not to take it personally and resent when you decarbonize and diminish me.
I can feel myself being tape, sticking things together, taping wires and mouths, un-taping, warping and buckling up.
I might emerge from a liquid solution, a precipitate, an insoluble solid suspension ejected and fallen at the bottom of a vial.
I might flat on the soil and bituminize to carry all steps on me and all of a sudden, tragically crack and let us plummet, crash.

Potrei assumere sostanza di corpi ignei, a base di carbonio o meno, spinti a forza attraverso
formazioni esistenti.
Depositarmi come fondi di liquidi rimasti in migliaia di bottiglie che plastificano l’oceano.
Potrei riciclarmi in carta termica non riciclabile e cospargermi di tinture e sensibilizzatori e stabilizzatori e poi evaporare per calore. Rotolerei.
Rotolare e rotolare, schiacciarmi, una lattina, a ogni calcio un balzo in avanti, futurizzare. 
Posso percepirmi fluttuare, la parte per milione di CO2 aggiuntiva, cercare di non prenderla sul personale e risentirmi quando decarbonizzate e mi diminuite.
Posso sentirmi essere scotch, scotchare le cose insieme, adesivare cavi e bocche, staccarmi, deformarmi e accartocciarmi.
Potrei emergere da una soluzione liquida, un precipitato, un solido insolubile, sospensione espulsa e caduta sul fondo di una fiala.
Potrei appiattirmi al suolo e bitumare per caricarmi di ogni passo e d’improvviso, creparmi tragicamente e lasciarci precipitare, schiantare.'

+1  (Ilaria Boffa & Marco Lucchi)

‘Travel Within’ es una composición de Ambient Piano en la que participa la talentosa violinista Mirela Nita. El tema ha sido mezclado y masterizado por el productor Runar Blesvik, quien además ha creado el arreglo de cuerdas sintetizadas.

Sobre esta composición:

Sting, el reconocido músico y filántropo, concedió una vez una entrevista en la que compartió una reflexión muy interesante sobre sus viajes, tanto los externos como los internos. A pesar de haber recorrido el mundo entero, Sting explicó que sus mejores viajes han sido los que ha hecho hacia dentro de sí mismo, y no puedo estar más de acuerdo con él.

Cuando viajamos hacia nuestro interior, exploramos nuestros pensamientos, emociones y creencias, y obtenemos una comprensión más profunda de quiénes somos realmente. Este viaje puede ser, a veces, desafiante e incómodo, porque nos obliga a enfrentarnos a aspectos de nosotros mismos que quizá hemos evitado o ignorado. Pero también puede ser enormemente enriquecedor, ya que nos permite descubrir nuevos niveles de autoconocimiento, autoaceptación y crecimiento personal.

Al igual que Sting, también creo que, aunque viajar y vivir experiencias externas puede ser emocionante y enriquecedor, al final son pasajeras y nunca podrán sustituir ese sentido profundo de propósito y significado que nace de nuestro interior.

Tomarnos el tiempo para explorar nuestro mundo interno nos permite comprendernos mejor, entender mejor lo que nos rodea y desarrollar las herramientas y la claridad necesarias para afrontar los desafíos de la vida con mayor serenidad y equilibrio.

Jan Uve (Compositor y Pianista)

Toca para Volver a Ti

Travel Within

Version choirs Epic music is the idea of a song (usually instrumental or cinematic in nature) that
brings home a very clear feeling . It may be inspirational or even spiritual. Perhaps it is meant to get
our hearts racing with adrenaline. In any case, epic songs take us out of our surroundings. Music
ignites our imagination and this adds a very powerful layer to the way people experience visual
content.

the earth shines with choirs

Note on this Study: This piece represents an experiment in extreme polyphonic density. In aiming to capture the chaotic wall of sound found in the dawn chorus (using multiple woodwinds, piano, and string divisions), the accumulation of sustained resonance pushed the Yamaha Genos II keyboard engine (attached to a customised triple felted hammer-action Roland RD600 acting as MIDI master) to its theoretical ceiling. The occasional 'flamming' heard here is not an error of performance, but the sound of the digital engine reaching its absolute event horizon under the weight of attempted texture. 384 note polyphony may seem a lot, but when notes are sustained, your polyphonic budget rapidly disappears. I need a bigger boat.

a cloud shadow (naviarhaiku572)

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