Such a vibe. Lovely textures. Backrooms soundtrack worthy.

great feel of solitude in this atmospheric piece, beautiful work!

absolutely. cleanse my spirit, thank you.

Your Artwork/Photography always compliments your music exceptionally.

Excerpt from Rebecca Lane & Clara de Asís "Distances Bending", live at Oscillation festival, Brussels (BE), 29 April 2023.

A collaborative composition by Clara de Asís and Rebecca Lane deriving from a series of encounters and explorations throughout different times, spaces and forms.

Distances Bending is an ever-expand­ing pro­cess — a build­ing up, dis­tilling, and mir­ror­ing of mater­i­als par­tic­u­lar to each artist, respond­ing to and inhab­it­ing a space over mul­tiple hours or days. A repeated time struc­ture, a tem­por­al loop that is altered through upwardly evolving ration­ally-tuned fre­quen­cies, vari­ous flutes (whose size, timbre and shape cor­res­pond to these fre­quen­cies), elec­tron­ics, and chan­ging light, the piece cre­ates a subtle space where per­cep­tion is transformed.

Rebecca Lane: flutes, organ pipes, whistles
Clara de Asís: synthesizer

Rebecca Lane & Clara de Asís / Distances Bending (Excerpt) – Live at Oscillation 2023

The Leveret

The Fervent Widow

as a thank you to all for the support in 2023 <3 

three 'pay whatever' tracks from a new maps and diagrams album [Islands] - 2024

https://handstitched.bandcamp.com/album/islands

thanks for listening xx

Jura

'In Nature' is Andrea Cichecki's new video series, in which she performs her songs live using her modular synthesizer, various drum machines and effect pedals, in unique locations, around the area she lives in.

With this project, she wants to take you along on a musical journey, show you also the beautiful nature and how important it is to preserve it. In part one, you can enjoy the song 'Light'.

Link to the video: youtu.be/PqPnyQe0hZw

Buy here

Light By Andrea Cichecki

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

Like Tears In Rain

Marco Lucchi : synthesizers, electric violin, tape and treatments

*

maggio 2024

Wunsch

Land Here - Dub Edit (Full release on Bandcamp)

HAIKU MUSIC CHALLENGE
Naviarhaiku 542

sudden dazzling glare
- the low sun briefly pierces
a veil of dark cloud

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published ​under a Creative Commons licence, and free for anybody to download or remix.
 
haiku by Raymond Cobley

picture by Łukasz Łada

Submission deadline: 29th May 2024

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

Sudden Dazzling Glare

Sudden Dazzling Glare (naviarhaiku542)

We kick off our new label "BLENDE" with an LP by the West German duo Lotus Fx. They bring us nine tracks of deep, ambient oriented IDM that feels like a modest homage to the Warp Records era of the 90s. Real Krefeld Electronics transport mechanical & grey percussions, which add a certain contrast to the warm but dark themes. An ode to the feeling of unconditional solitude.

curated by @hohe-audio & @milespinkert

Cat. Number: BLENDE01
Release Date: 31.01.25
Format: Digital

Artwork by Igor @bongvr

Mastered by Hohe - @ Yacht Mastering in Cape Town, South Africa

Lotus Fx - Apocalypse Now

Lost Parade

Lost Parade Part One

2025-03-11

ship without crew

🚨 DARK AMBIENT YOUTUBE CHANNEL 🚨

https://www.youtube.com/@Drax-official-ldn

The Fervent Widow

Drax

Recent comments

Northfield Lenox

The Confidential Realm

AmorcitoOlesya

_bouquet_

Related tracks