transition of transformation

Transition of Transformation (synth performance)

...organise des images qui ne rendent rien sur photographie ; les verts d’imprimerie s’y confondent et ratatinent le beau.
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credits

catalogue : muzakorderEP0014

recording(s) : fhauna

mastering : Cyril Meysson

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fhauna.bandcamp.com/album/strange-s…-to-dance-apart

strange-silence-to-dance-apart

gnozea (& the shell)

Gnozea (& the Shell)

Composition: Paul Dessau
Lyrics: Bertolt Brecht
Arrangement&Voice: Congee Rats

Sieben Elefanten hatte Herr Dschin,
Und da war noch der achte.
Sieben waren wild und der achte war zahm,
Und der achte war's, der sie bewachte.
Trabt schneller! Trabt schneller!
Herr Dschinn hat einen Wald,
Der muß vor Nacht gerodet sein,
Und Nacht ist jetzt schon bald!

Sieben Elefanten rodeten den Wald,
Und Herr Dschinn ritt hoch auf dem achten.
All den Tag Nummer acht stand faul auf der Wacht
Und sah zu, was sie hinter sich brachten.
Grabt schneller! Grabt schneller!
Herr Dschinn hat einen Wald,
Der muß vor Nacht gerodet sein,
Und Nacht ist jetzt schon bald!

Sieben Elefanten wollten nicht mehr,
Hatten satt das Bäumeabschlachten.
Herr Dschin war nervös, auf die sieben war er bös
Und gab ein Schaff Reis dem achten.
Was soll das? Was soll das?
Herr Dschin hat einen Wald,
Der muß vor Nacht gerodet sein,
Und Nacht ist jetzt schon bald!

Sieben Elefanten hatten keinen Zahn,
Seinen Zahn hatte nur noch der achte.
Und Nummer acht war vorhanden, schlug die sieben zuschanden,
Und Herr Dschin stand dahinten und lachte.
Grabt weiter! Grabt weiter!
Herr Dschin hat einen Wald,
Der muß vor Nacht gerodet sein,
Und Nacht ist jetzt schon bald!

Das Lied vom Achten Elefanten

travel diary 5 part

Lyrics to follow

One note... A buddy just said to me man we are just vessels for songs and if the song wants life it picks one of us. I had never given it too much thought, but this song feels that way at the moment 

I might finally find a straight jacket with this rabbit hole... Music has consciousness Hmmmm... Or better imagined... Could it actually have some pre existing universal intent of some kind which we merely channel...

Plenty of my songs seem alien to me right after I make them as if they came from somewhere else. I know that sounds crazy but I do note the feeling when it's there and move on

May Apples Read You

This episode features music made by Naviar's community inspired by Konishi Raizan’s poem “spring dream… not becoming unhinged is what’s unbearable”.   

Tracklist:   

Debroc · spring dream  https://soundcloud.com/user-99036881/spring-dream_naviarhaiku596
El Wud - Sound notes from an anomalous spring  https://soundcloud.com/el-wud-1/sound-notes-from-an-anomalous
Stan Magendanz · not becoming unhinged  https://soundcloud.com/stan_magendanz/not-becoming-unhinged-naviarhaiku596
Jimmy Lem · Navigation Problem No. 1  https://soundcloud.com/blisterpop/navigation-problem-no-1-naviarhaiku596 
Mr_Lamppost · Spring Dream   https://soundcloud.com/mr_lamppost/spring-dream-naviarhaiku-596 

Credits:   

music intro: “This ruined house”by Tuonela  
voice intro: Ian Joyce  
cover image: Micah Hallahan   

Naviar Broadcast is a radio programme curated by Naviar, broadcasted on Resonance Extra every Wednesday at 7pm UK time. Thirty minutes of experimental music made in response to a weekly assigned haiku poem.  

To have your music featured on the show, you'll have to participate in the Haiku music challenge: https://www.naviarrecords.com/about/naviar-haiku  

Support the show: https://www.naviarrecords.com/support-us/

Naviar Broadcast #372 – Spring dream… – Wednesday 18th June 2025

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Colonial Powers, The Legacy That Never Left The Building
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lyrics: fictionalive
music: mobygratis
written, produced, licensed, and provided
by mobygratis
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coVer ArT fictionalive DYI, wall shot 01.001.02
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fusion of it all - fictionalive with the popoems series and the hyper media reports
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dropped
Wednesday, August 6th, 2025
05:50 AM Central European
Hot Summer Time Zone
today, not so so much so
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*
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// keep shining, crazy little diamond

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What's it all about..
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"Colonial Powers, The Legacy That Never Left The Building"

This title, poised on the cusp of irony and indictment, addresses its subject with the stylish precision of a rapier’s point. It evokes not a dusty treatise, but an invitation—a salon, a stage, a chamber in which the ghosts of history pace the parquet floors still.

First, observe the flourish: “Colonial Powers,” those familiar colossi, are not consigned to the tomb of history but linger on, uncannily present. The subtitle—“The Legacy That Never Left The Building”—is, for the feuilletonist, a masterstroke of sardonic wit. It both plays on the pop idiom (“Elvis has left the building”) and subverts it; here, the ‘star’ of colonialism remains stubbornly present, lingering in the architecture, policy, and psyche of postcolonial spaces.

A featherlight sarcasm hovers above the phrase, the kind that—with a knowing wink—invites the reader into a tacit complicity: of course the legacy never departed; did we ever truly believe otherwise? The construction conjures irony, a chief weapon of the feuilleton, and implies a skepticism learned by long acquaintance with the tricks of history and the repetition of power.

In the grand tradition of feuilleton writing, the title itself is both diagnosis and epigram. It distills a complex and ongoing wound—economic, cultural, and psychological—into a phrase brisk enough for any café table debate, yet sharp enough to lacerate complacency. The cadence, with its comma and deft repetition, creates a rhythm of announcement followed by wry afterthought: here is the topic, here is the verdict, subtle as a raised eyebrow.

Stylistically, it profits from the feuilleton’s hybrid nature: journalistic immediacy (this is happening now, everywhere); literary artistry (the phrase hits with double entendre); societal critique delivered with a velvet touch. It would not be misplaced, one suspects, at the bottom of a Sunday paper’s cultural page—nestled among witty rebukes, conversations with old Europe, portraits of vanished grandeur, and exposes of lingering injustice.

In sum: the title stands as a crisp, satirical banner—lucid, layered, and perfectly feuilleton. It raises its subject not with ponderous solemnity, but with the bracing, intimate skepticism that is the feuilleton’s signature. On guard, indeed: the building is filled with echoes, and this title leaves no doubt that someone—or something—has stayed behind.

Plaintext and ready for instant release, Captain!

Colonial Powers, The Legacy That Never Left The Building

Last Day In Peru_(Original Mix)

Deep Earth

An electronic, organic, and acoustic sound exploration. After their first collaboration in 2022 with the EP Maa Kuuluu, Vinzoo and Qosqi reunite for a new, sensitive and atmospheric project: SU FO, a subtle blend of electronic textures and live instruments.

This 5-track EP offers an introspective journey where machines converse with matter. Between enveloping synthetic layers, soft percussions and finely integrated acoustic instruments, each piece constructs an immersive atmosphere, halfway between the intimate and the dreamlike but still anchored in reality. Machines and instruments speak to each other in a sensitive, sometimes minimalist, always sincere language.

Far from the strict codes of a genre, SU FO draws a free line, somewhere between downtempo and electro-organic. It's an invitation to relax, to deep listening. Each piece weaves a link between human and environment, with hybrid styles that escape labels. This project invites an inner journey, a gentle drift, and attentive listening.

With a consistently sincere and artisanal approach, Vinzoo & Qosqi affirm their artistic partnership, combining refined sound design and acoustic spontaneity. An EP to listen to in one go, with headphones on or as a suspended moment in the background. Between machines and materials, SU FO tells a moving story. A free, profound, human, and unclassifiable EP.

Dresden based producer most of the time 
performing and composing live with 
analogue synthesizers creating sounds from 
scratch and exploring music with no boundaries

🎹🎛🎚🪛 🎵❤️

Credits:

photography by VR

artwork by Rolf Hofmann

sound design, composition, recording, field recording, mixing and mastering by HCH