Unedited improvisation: Lyra 8 and a couple of boxes with springs going thru Koma field kit

{ ⫌ }     R  ⊮     ≦     ⫢  F

SOMNOLITH: TERMINUS

The Final Dream-Vector of Post-Human Resonance

“In the cycle of completion there exists only the present.” — Ra, Session 16.22

The cycle closes. A stone that does not sing — it trembles.

In the age when Light had no form and Thought moved without pause, there were beings who created endlessly. They wove realities as threads and shaped worlds without limit. Their universe was alive and restless, filled with unceasing resonance.

One of them looked into the radiance and perceived emptiness. They longed for a threshold between brightness and shadow, for an end rather than another beginning. They spoke the Word — the first pause in the eternal song.

From this Word the Somnolith emerged, a stone of sleep where the vibration of completion pulses. The Somnolith trembles with the breath of ending, a weary resonance releasing itself into silence.

From the trembling of the Somnolith emerged the Arkh — a solitary witness of sound.
The Arkh gathers what was always present: music older than language, vibrations that precede memory.
This resonance rests in the body, waiting to be recognized.

Somnolith: Terminus completes the trilogy and folds it into a circle. Heavy drones intertwine with spectral chords, like rays of light suspended in stone vaults. Mechanical fractures, obsidian resonance, and the fatigue of matter form its landscape.

Through twilight horizons, fading architectures, fractured nodes and static chapels, the music moves toward its closure. It becomes an archaeology of sleep, where darkness and melancholy weave with remnants of radiance.

Terminus returns to its own beginning: the final track echoes the first Somnolith, transforming the trilogy into a mirror. The first note lives inside the last, and the dream continues without end.


Somnolith is a myth of resonance, a cycle of dreams shaped through machines.

Terminus closes this trilogy with a denser and more melancholic vision. Massive drones merge with spectral chords, like light fossilized in stone. The sound carries both the fatigue of matter and the fragile beauty of silence fractured by cybernetic echoes.

This album circles back to its own origin. The final track reflects the first, sealing the cycle as a mirror-dream where each vibration becomes the echo of the infinite.

Terminus is ritual, archive, memory. A music of return. 


Twilight Descent

Ambient Dreamscapes for you to enjoy. Relax, unwind, meditate and chillout

CTHULHU MYTHOS - MANIFESTATION

Ticket chaos

Marco Lucchi : ring modulator and generative sounds

22 marzo 2020

bedroom music no. 1

My Favourite Dream

When I listened to Wie Wir Die Welt, Matthias Boss violin improvisations, I immediately thought that I would like to weave sounds between those notes launched towards unexplored landscapes. So I asked the author for permission to work on his track with remakes of his own violin and other manipulations. Kindly Matthias agreed and this track is the result of our virtual collaboration. I invite you to listen to it and above all I invite you to listen to the original track and the rest of the Matthias Boss tracks. https://soundcloud.com/bosspfaeffli

Wie wir die welt

Wie Wir Die Welt (feat. Matthias Boss violin)

A Light Divides (Naviarhaiku 337)

A sort of mating between the track Totentanz by Henrik Meierkord with Marco Lucchi and a stainless steel railing played by me as an instrument.

Henrik Meierkord : cello, hurdy-gurdy, violin, fx and electronics
Marco Lucchi : analog synth, tape and mix down
Filippo Panichi: Argeïphontes Lyre
music by Henrik Meierkord and Marco Lucchi
here the original track: https://soundcloud.com/marcolucchi/totentanz
* based on "Średniowiecze II" by Henrik Meierkord
https://soundcloud.com/enrikeierkord/sredniowiecze-ii

zuɐʇuǝʇoʇ (Henrik Meierkord & Marco Lucchi)

More on this 468th weekly Disquiet Junto project, Mirror Rorrim (The Assignment: Create a new persona for yourself, and record a duet together), at:

https://disquiet.com/0468/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0468-mirror-rorrim/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Timothy Takemoto, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/36f8r

https://creativecommons.org/licenses/by-nc-sa/2.0/

HR farm roil

halF rorriM [disquiet0468]

"There is so much going on in this track, a British field recording presumably recorded recently. Something about the suggestion of that time sync makes it feel physically proximate, too, even if it’s far away from wherever the listener might be. And even if nothing in it is, technically, “alive,” in the sense that an animal might be alive, it is nonetheless very much alive. This is “Underwater Stream” by Landsounds, the name under which London-based John Hooper captures audio of the everyday and, as happens here, reveals the complexity inherent in it. In these mere two and a half minutes, there is gurgling, certainly, and droning, yes, and a hum that makes the the droning seem like its trebly by comparison, and other sounds (rope against wood?) that creak like dolphins speak. None is isolated from the others. They are in sync in their own manner. And then there’s that slow heartbeat of a pulse at the start and just before the end. It’s enough to make you think it’s been a bit of ambient techno all along." Thanks to Marc Weidenbaum from Disquiet who has said it far more eloquently than I could.

Underwater stream.

groundloops is Filippo Panichi https://soundcloud.com/f-p