A track for Naviar Records' Haiku Challenge where a piece of music is composed in response to a haiku.
A very short piece; I wanted to have the violins soar out of the darkness for a brief moment, before going out, like the firefly mentioned.

For That Brief Moment (naviarhaiku390) - Adrian Lane

Noisy Life

Resonant sounding Ambient track. I hope you like it :)

Art Work: Mathias Hettmann
https://www.instagram.com/martin_cam_buren/?hl=de

Resonance Therapy

Marco Lucchi : ring modulator and generative sounds

22 marzo 2020

bedroom music no. 1

sventh fae garde

i took the same pictures on his bed
you didn’t believe a word i said
but that’s the way it goes around
you just picked up what i put down

and your words could have come from me
writing his infidenlities
we were in love forever and ever
at seventeen in summer weather

oh what a catch
he writes songs about me!
i lit the match, he poured the gasoline
but take a step back, look at us now
im on fire and he’s burnt out
what goes around comes around


welcome to my imagination
lets play a game of fabrication
its always been a competition
pick a side, ill be your opposition 
ill watch you go around again 
this must be how to be friend
we'll be in love forever and ever
can't wait to fuck this up together

pick a side...

goes around

This song was created out of curiosity and love for music.

Memories

source track
Massive Attack - Dissolved Girl

Skyline

Your plastic gods are unrecyclable

Virginia

Headphones are highly recommended. The most appropriate and natural listening levels would be somewhere between 45% to 55% of your sound equipment's volume levels. The quiet beginning gradually grows louder, and then slightly reduces again to a 'status quo'. The recording, as presented here, runs from approximately 05:30 to 07:25: from just before first light to after sunrise.

The first and second dawns of 2021 were very windy, here. But the third dawn was quite calm. I was able to make this uninterrupted recording at one of my favourite local listening places. It's a place I love to go walking; and, just as much, love to sit, to listen, and to look. A place for peace, inspiration, and healing. And, of course, also to record.

The recording begins very quietly, but very gradually increases in volume. I've omitted the first part of the recording, which is even quieter, although it contains a few interesting obscure episodes; and one very vocal nearby koala. I felt that most listeners would be impatient with nine or ten minutes of mainly 'silence', before the birds begin to sing.

Given the quietness of this beginning, there is some general background 'white noise'. In part, this noise is just natural environmental sound; no space with an atmosphere is ever 'absolutely silent'. But it also probably includes some self-noise of the microphones, given that the preamp gain levels were relatively high. Although 'denoising' does mitigate such noise, I find that I am very rarely ever comfortable with the results of 'denoising', even when gently applied.

In all listening, there is always also, necessarily, the presence of the listener. There is no such thing as an act of 'listening' without a 'listener'. There is no such thing as 'sound' without a 'hearer of sound'. Yes, there is something that we may describe as 'purely physical vibration', which can exist, in some sense, quite independently of any particular being that is capable of 'hearing' such 'purely physical vibration' as 'sound'. But, very strictly speaking, such 'purely physical vibration' is absolutely not 'sound', as such, because 'sound', very strictly speaking, is a special kind of perceptual experience, a perceptual phenomenon, that can only be perceived and experienced by a perceiver, an experiencer, who is perceptually and experientially conscious, in an appropriate form and way.

John Cage once sat in a very sophisticated soundproofed anechoic chamber, attempting 'to hear pure silence'. He realised that there can be no such thing as 'hearing pure silence' because, even in 'pure silence', the listener will hear the sound of his or her own listening organism and listening organs. The presence of the listener cannot but be heard by the listener. The presence of the listener means that 'pure silence' is, in principle, impossible.

For me, this applies also to the presence of the microphones and the sound recorder. Like the organic listener, these also produce their own internal physical electromagnetic vibrations, which they cannot but also record, since recording such vibrations is precisely what they have been designed to do. Some are quieter than others; but, in principle, none can ever be 'absolutely silent'. To my mind, microphones and sound recorders are, to recollect Marshall McLuhan, 'extensions of our nervous systems'; and, like our nervous systems, they contribute 'noise' to every act of 'listening' and 'hearing'. Of course, it's preferable that the difference between inevitable intrinsic 'self-noise' and significant 'signal' is high, rather than low. But the fact of the matter remains, that, by fundamental principle, 'noise' and 'signal' cannot be absolutely separated. Analogically, to recall Wittgenstein, there is no such thing as 'a rod without length'. That's a logical contradiction, and a physical contradiction. The same applies here.

goes around

Harriet