Name: Where The Ocean Lives part 1 by Phobeus
Duration: 4 min 25 s
Description: Track two of the new ep "Where the ocean lives", 20/21

Dystopian Nectar

New LP of mostly previously unreleased material out from 1st December 2023:
ceruleanascent.bandcamp.com/album/within-drifts

Unfinding

3. Conditioning:
Unlike imprinting which requires only one experience and sets permanently into the neurons, conditioning requires many repetitions of the same experience and does not set permanently. Behaviorists also know how to reverse conditioning by counter-conditioning, but Dr. Timothy Leary has claimed to know how to reverse imprinting!
Curiously, laws currently forbid others to repeat and test Dr. Leary*s experiments and treaten them with prison if they get cought repeatig this research.
The idea , that the Inquisition died 170 years ago seems - like the separation of state and church - just another myth, unconnected with how our government actually functions. 
- Robert Anton Wilson (Quantum Psychology)

noxpox*Lysergenesis-Warp Drive

MMXVIIIIXXXXNTNLNS

Wave

Part Of The Background (It's me)

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

Marco Lucchi & Henrik Meierkord - A Warm And Golden October

And Still We Know So Little

Falling Through Zero

From Whats Known

At The End of the Day

Fire

Track two of the new ep "Where the ocean lives", 20/21

Where The Ocean Lives part 1

Dave Lumbard a. k. a "Phobeus" ,ambient and techno artist, surfer, music producer living in kernow promoting "cornish techno". 

Lover of Electronic and modular synthesizer music, IDM, techno and collecting vinyl. Lover of travelling and searching for new inspirations in exotic places. All music available to download on Spotify, Audiomac and Bandcamp, check it out!!

 New techno ambient and electronic music to come in 24/25. New darker material coming with help from friends. Thanks to all who listen to my stuff, I hope you continue to enjoy all I produce.

Dave

Where The Ocean Lives part 1

Phobeus

Recent comments

Nostalgia For Infinity

Related tracks