αριθμός τέσσερα (Number Four)

Koloni (MaiTai)

02 Koloni (MaiTai)

ABERDEEN • Zalinki Cover

spotify/bandcamp

beeOS

A microtonal piece that plays with tension

Deep Field Starlight

Flöte: Yumi Iizawa
Klarinette: Yumi Maeno
Violine: Ruri Utsuki
Violoncello: Mariko Okabayashi
Klavier: Yukimi Takeda

Musikalische Leitung: Masanori Hosaka

This Product Contains Saccharin

F
Am
Cm
Gm
(Edim)

F
Dm6\F
Bb
Bbm

F
Am
Eb6\9
Dm

Gm
Gbaug
F6sus4
Edim
Eb
Bbm6
C7
C#m

F
Dm6\F
Bb
Dm6\F
(Edim)

F
Dm
Dm6\F
Bb

Do I Make Myself Clear

Introducing the Normal EP — 8 new tracks, released 31st October via @Inspected

Limited Edition Vinyl → insp.ec/NormalVinyl

Culprate returns to Inspected after 6 years with the ‘Normal’ EP, an eight-track epic that will resonate deeply with fans both old and new.

From its evocative melodies to its forward-thinking sound design, ‘Normal’ is both a reflection and an evolution, effortlessly merging past and future influences.

1. Lightfold
2. Singularity
3. Ghost Machine VIP
4. Tentacle 2024
5. Area 51
6. Myka
7. Ligo
8. Ghost Machine (Pluvio Remix)

Artwork by Gevorg Khandkaryan (randomgev)

Released 31st October, 2024
Cat. No: INSP052

Ghost Machine VIP (w/ Zenji)

Chopin - The Lost Nocturne

Chopin - The Lost Nocturne is a captivating homage to the Romantic master, evoking the delicate beauty and emotional depth of his most cherished works. This nocturne enchants with its lyrical piano melody, accompanied by lush harmonies that create an atmosphere of introspection and serenity.

The piece flows with a dreamlike quality, balancing intricate phrasing with moments of profound simplicity. Its hauntingly beautiful themes and nuanced dynamics draw the listener into a world of quiet reflection, reminiscent of Chopin’s timeless nocturnes yet imbued with a sense of rediscovery.

A poignant tribute, The Lost Nocturne embodies the soul of Chopin’s artistry, offering both homage and innovation in equal measure.

Contemporary Classical - The Essential Collection

Chopin - The Lost Nocturne

🎬 VIDEO

Bears

written in 18 hours (fueled by energy drinks and insane stress before a deadline)

fun fact: this started as an attempt to orchestrate my piece "acediat", playing them one after the other makes this obvious.

undulawav

hi I'm Pine I like making experimental music using any available good (to me) sounding technique. Some of my songs have weird structures just because I have almost no interest in playing music which already exists or imitating what has come before. I want my music to be a true exploration of the human appreciable areas of the combinatorial possibilities of sound without boundaries inherent in any genre, tempo, fundamental frequency, key, scale, pitch, or any other non-truly-fundamental concepts other than frequency, amplitude, and time. What keeps me up at night is the question of *exactly what* about the spacing of the sequences of frequencies in a major or minor chord causes the feeling of sadness or happiness within it? We feel it deeply across cultures and contexts, what scientifically is causing it? Can we begin truly engineering sound once we understand that? maybe just a little better than before, but it’s still beautiful to imagine. My music is often strange because I am strange and appreciate its mirroring of myself, perhaps with a bit of hubris. I want to make music which sounds like litterally or metaphorically nothing else... so far it's been hard to market as anything other than minimalistic (because minimalist-likers have more patience with potentially good music).
I dream of a total work of music made with every single not planned beyond mere orchestration... so far that's wildly over-ambitious to do in practice.

Deep Field Starlight

Pine The Tree