Slow but with hard presure in the vibration.... wow

fantastic sound field, reminds me deeply of MGR who i think you'd like

Fabulous experiment - very vivid, sad and reflective. Great tune in all aspects.

The bass adds that extra creepiness to the track

With this track, I aimed at making an ambient piece with just a drum machine. 

What sounds like a contradiction actually makes a lot of sense when working with the Elektron Machinedrum UW.

I recorded and treated the guitar tracks (mostly with the Strymon delay) before I sent it to the Machinedrum but I left the buzzing and all noises caused by using a single-coil guitar in. After having assigned the sounds to the Machinedrum's keys, I just "played" them the MDUW, hoping for the best.

Enjoy!  (This is very much improvised and therefore a work in progress, so I may still continue to work on it.)

Edit: Much later this version emerged: https://soundcloud.com/encym/shimmer_var_alab_prep_01

Shimmering Lights

The context of creation: 
a room where a shy sun shines 
for a few hours.
Isolation.
The winter.
Uncertain times.
Stretches of hours.
Tensions.
I look at a candle.
it redesigns its shape as it wears out.

I Am the one who fuels the fire
I am the one who consumes it
I am flame
Devoured by itself.

Its glow
Like a wound in the dark.

----------------------

new edit made in 8/03/2024

some sample are made by vocal messages from: Ugo Pisco Lùmaia

here's the following link on his page

https://soundcloud.com/12-days-for-a-new-way?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Tra La Fiamma E La Cera (cattedrali In Rovina)

Tra Fiamma E Cera (cattedrali In Rovina)

Rework of Kosmische II same but with piano elements

Kosmisk Strålning II

All sounds come from the initial spoken phrase 'Why don't you stop' .. and roughly follow the shape of it's waveform for overall structure. The sounds at any particular point in the piece are generated by the associated lexeme in the vocal phrase using an Akai s950 hardware sampler and its built in editing routines.

Performed 'live' straight into the mixing desk via the separate outputs. Sequenced by Logic. Mastered onto cassette.

Why Don't You Stop

Why Dont You Stop

on air @ Symbiose
https://cism893.ca/emissions/symbiose/14-01-2024/

La Musica è Sacra [on air @ Symbiose]

released March 29, 2024

https://petrilahtinen.bandcamp.com/album/three-ghosts-one-forest

https://soundcloud.com/petrilahtinen/sets/three-ghosts-one-forest

Petri Lahtinen: field recordings, electronics
Paul Mimlitsch: clarinet
Martin Hoogeboom: objects, electronics, guitar

Mixing: Martin Hoogeboom
Mastering: Rupert Clervaux

Cover design: Martin Hoogeboom

Ghost in the Forest Act 1 /// Petri Lahtinen / Paul Mimlitsch / Martin Hoogeboom

The Eclipse Apocalypse, take from the soon to be release album

Darkened

And Still We Know So Little

We're Just Getting Little Glimpses

From the album: https://jeffgburekprojects.bandcamp.com/track/may-there-come-brighter-birds-of-song-to-zeitoun

Buy via Bandcamp!

May There Come More Bright Birds of Song to Zeitoun

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 - Like Tears In Rain

May 2, 2024
Image based on a photo by Todd Tuddle

MOREL

Abstract sample sculptures, minimal/maximal, weird beats, broken ambient.

New: LDNTWLGHT out now on OFF: 
https://stilll-off.bandcamp.com/album/ldntwlght

More recent releases:
"Bloom/Foam": https://encym.bandcamp.com/album/bloom-foam
"Hyphe" with Wodwo: https://encym.bandcamp.com/album/hyphae
"Trajectorize EP": encym.bandcamp.com/album/trajectorize-ep

Shimmering Lights

encym

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