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Recorded in 2023
Released in November 2023

Home-Wreck

Holy Man

whave on stant_01

This track was created for the Naviar Haiku group.
533
https://www.naviarrecords.com/naviarhaiku533-flowing-along/

2024-03-21

Flowing Along ( Naviarhaiku 533 )

Sharing The Fire  .m4a

This song is new song I wrote with Lillian Mareddy. It's another attempt at a country song, It's a bit of a slow burn and Charlie played some outstanding harmonica on it. I tried to keep it simple on this one and my vocals kind of ruin it, I think it needed like a Johnny Cash or an Atkins style vocal! I produced a video for it that helps the song along visually and is posted on my YouTube channel i- https://youtu.be/AsjtUK3BAPY
     Sometimes you just feel like crying in your beer and here's my take!  

“EVERY TIME”

TODAY IS SO DAMN COLD AND GRAY,
I KNOW TOMORROW WILL BE TOO,
HOW I MISS THE MORNING SUN,  
DANCING IN YOUR EYES OF BLUE,         

TONIGHT I’LL HAVE A DRINK PERHAPS,
SIT BY MYSELF AND WONDER WHY, 
RETHINKING WHAT MIGHT HAVE BEEN, 
REKINDLING THOUGHTS OF YOU AND I,
   
YOU REMIND ME OF THE SLOW BURN OF WHISKEY,
THAT WARM FEELING INSIDE,
THAT SLOW BURN OF WHISKEY,  
IT GETS ME EVERY TIME,    
YOU REMIND ME OF A LONG SLOW DRAG,
THAT WARM FEELING SUBLIME,
THAT LONG SLOW DRAG IN THE MORNING, 
IT GETS ME EVERY TIME,
     
TOMORROW I WILL START THE DAY,
MISSING THAT SMILE YOU NEVER HID, 
THE WHISKEY DIDN’T WORK TOO WELL,
ERASING THE STUPID THINGS I DID,   
  
THIS AFTERNOON I’LL TRY AGAIN,
TO EASE THE PAIN THAT’S IN MY HEAD,       
I’LL TAKE A SHOT AND LIGHT A SMOKE,
AND WISH THAT YOU WERE HERE INSTEAD,       
  
YOU REMIND ME OF THE SLOW BURN OF WHISKEY,
THAT WARM FEELING INSIDE,
THAT SLOW BURN OF WHISKEY,  
IT GETS ME EVERY TIME,    
YOU REMIND ME OF A LONG SLOW DRAG,
THAT WARM FEELING SUBLIME,
THAT LONG SLOW DRAG IN THE MORNING, 
IT GETS ME EVERY TIME.

BY JIM VALDES & LILLIAN MAREDDY © 2024

ODDS & ENDS

"EVERY TIME" (Lyrics By Lillian Mareddy)

Noth Crudhe (2023)

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 - Oändlig

The Rebels

Fight To The Death

This track was created for the Naviar Haiku group.
539
https://www.naviarrecords.com/naviarhaiku539-the-cormorant-in-the-forest/

2024-05-02

The Cormorant In The Forest; ( Naviarhaiku 539 )

Thank you for visiting my profile. I am a lifetime music junkie that began making beats in 2019. My weapon of choice is the Native Instruments Maschine MK3. Every track posted is a live recording without a DAW or automation. I come from a background of scratching records, so I feel a need to be hands on. All tracks were created in a freestyle manner without premeditation. Part of my process is to record what I have before ending the session. The tracks here are those session recordings. They may not be perfect, but I feel they all capture some part of my soul. I hope you enjoy. One love✌️

Ela

Holy Man

Ēla

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