very sweet, and the supermassive reverb sounds like another instrument in places!!

Quel superbe titre! I love the solo parts that shine thru, the violin here for example.

This is great stuff Daniel! Undulating.. Comme des ondres!

This time I get naked like never before ... it's a three-track environmental recording (recorded on the phone) in late January last year. my Mother, my Father and I during a dialogue, in our local dialect. With the television on, and some recorded noises ... (of a breathing exercise device that my father used in those days following a cadiac surgery he had undergone.) I was there to monitor his condition and to provide support ... (it was a delicate moment, for him as for us.) For many of you this publication may mean nothing, but for me it means a lot .. It means for me as an attempt to fix something in time (which erases everything. .) But those days I want them to remain etched in my memory and this is probably an unconscious attempt to fix them in time .. Several times I have listened to this kind of song .. In the silence and solitude of my current apartment. In an attempt to further elaborate this sound material. And I had the feeling that I didn't feel alone. But for now, it seems perfect that way. And I decided to share it with you. Maybe over time there will be further developments ... but waiting to be mature to grasp them, I would like to thank you for listening. These are my parents, my ancestors, from whom I am descended and whom I want to honor in this way. thank you.

Ancestors

The Sludgefork

naviarhaiku508 – Deep, dark Summer night

Deep, dark Summer night
A sudden shaft of moonlight
Blesses the temple

John Hinks, aka FlownBlue, is a prolific and talented composer, and a regular participant in the Haiku challenge. Aside from his solo project, John is also involved in multiple projects: ‘Windfall Light‘ (with Jim Tetlow), ‘Abstract Blue‘ (with Kevin Buckland), ‘Light Fragments‘ (with Steve Escott), Szukanie (with Michał Wojciechowski), and Meadowlight (with Emma Reed).

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 4th October 2023

Haiku by John Hinks https://soundcloud.com/flownblue

Picture by Joe Hu https://unsplash.com/photos/ZXaCeb7rwfE

68bpm n°2 - naviarhaiku508 – Deep, dark Summer night

My submission for Naviar Haiku #510.

More on Naviar Haiku : https://www.naviarrecords.com/2023/10/11/naviarhaiku510-in-pre-dawn-darkness/

Waking To The Singing Rain

Waking To The Singing Rain - Naviarhaiku510

Enjoy the accompanying visuals @ https://youtu.be/nXTq8-uefv8

in dark autumn nights
dew and the new bamboo shoots
reaching out to moon

Haiku by Shubham Dasgupta https://www.instagram.com/poetry.bysdg

More information: https://www.naviarrecords.com/about/naviar-haiku

visuals (YouTube)

halF bamboO [naviarhaiku511]

Orchestral soundscape.

I've been "testing" some gorgeous string orchestra libraries I have because next week I have a job to do with it, mostly quiet orchestral pads and soft beds. So This junto comes at the right time to try that, I played some quiet episodes combining different sample libraries and different convolutions reverbs and some Valhalla Supermassive.
The only real instrument I played is the bowed double bass, triple-tracked.
I tried to leave some pure silence a couple of time, filling it with pure reverb and resonances, I'm not sure the silent parts are what I was aiming for, I may rework this during the week end, but this is the result of this morning's work (Friday October the 20th)

Photo by Vladimir Fedotov

https://llllllll.co/t/disquiet-junto-project-0616-definition-jam

Quiet Versus Silent (disquiet0616)

[naviarhaiku513] black dog

Force symbove

candle light meditation

In 2022, T.S. Eliot’s poem "The Waste Land" celebrated its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day. 

Irina Borissova
2nd Violin

Anna Krimm
Viola

David Menke
Solo Piano, Musical Direction

Roland Münchow
Flute, Tenor Saxophone

Michael Preuss
Cello

Boris Rogowski
Piano, Harmonium, Electric Guitars, Mandolin, Programming, Vocals

Alexander Sachs
1st Violin

Claus Schulte
Drums 

Buy on Bandcamp

Unreal City

time

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Quiet Versus Silent (disquiet0616)

Daniel Diaz

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idematoa

Ya Wha?

Ya Wha?

how the night came

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