Moovie - Nautanki Saala
Song - Mera Mann_ [All New Sad Lyrics & Feel Verson]
Singer - Amit Sengar 
Lyrics - Kunaal Verma
Recorded At - Aashirwaad Studio Indore

Nautanki Saala_ Mera Mann [All New Sad Lyrics Verson] - Sung By Amit Sengar & Lyrics _Kunal Verma

Mujhy Pyar Hua Tha_ Kaifi Khalil _Levior

naam ada likhna.mp3

Another beautiful rendition by Subhan Ahmed Nizami. For more, check this link: https://vimeo.com/user34179970

Lyrics:
Ishq mein tere koh-e-gham sar pe liya jo ho so ho
aesh-o-nishaat-e-zindagi chhord diya jo ho so ho

Laag ki aag lagte hi, bamba namad yeh jal gaya
Rakht-e-wojood-e-jaano tak kuchh na bacha jo ho so ho

Aql ke Madrase se uth, Ishq ke Maikade mein aa
Jaame Fanaa-o-Bekhudi ab to Piya jo ho so ho

Hijr ki jo museebatein, arz kiin uske rubaru
Naazo adaa se muskura, kehne lagaa jo ho so ho

Hasti ke is saraab mein, raat ki raat bas rahe
Subhe Adam huaa numoo, paaon uthaa jo ho so ho

Ishq Mein Tere Koh-e-gham | Subhan Nizami

Enner Madness
1: Introducing
2: Shall I?
3: After-Glow
4: Relief
5: Meditation
6: Return

Dates:
28-Sep-2025 (inception), 01-Oct-2025 (finalised), 02-Oct-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
watch this space -- upload in progress

Description:
No, I am not going mad! More like an energetic use and interpretation of the Soma Enner instrument.

An orchestration of multiple granular synthesis banks through my custom programmed granular synthesiser, Granie (Release 04, 28-Sep-2025).

For full write-up, see my BandCamp or FaceBook Page.

Enner Madness records audio from external synthesisers or electronic instruments, feeds this into the Soma COSMOS memory station to loop over parts of the performance, giving me a small window to record this into small snippets of audio 30 seconds each, the grains into the Granie. The grains are modulated in time and space, left right audio channel modulations, position modulations, position offsets between grains and small changes in playback frequency amongst the cloud of grains. All of this can be varied by adjusting the rotary encoders of the Push2, not through low frequency oscillators, but through human controls of the rotary encoder knobs and then record those movements as automations to replay. All this is done live. I wanted to keep the performance organic.

The Granie also comes with a dual delay+gain+feedback section, one for the left audio channel and another for the right audio channel. Just as with the granular control, delay times and feedback were controlled dynamically on the Push2 live during the performance.

The Soma COSMOS was put into the Rhythmic Firmware mode, using the #09 Fractal mode and the #6 1/5 dominant mode. So the looping in the COSMOS was not your ordinary looper, rather it embraced improvisation and an ever changing play back.

The album consists of six tracks:

Track 1, Introducing: opens with the Soma Enner as the front end instrument. An energetic use of both the Enner and the granular synthesis of it.

Track 2, Shall I?: develops the ideas presented on track 1, but a bit like, shall I press this button and hear what happens? Again the Enner as the front end, blending this in with granular synthesis grains recorded from the Enner performance.

Track 3, After-Glow: takes the grain banks from track 2 and plays them alone, further exploring what can be done with them.

Track 4, Relief: Puts my electric violin at the front end, an NS Design Wav4. This was feed into the LR Baggs Para Acoustic DI (pre-amp), then feed into the Soma Pipe, then into the Soma COSMS and finally into the Granie. A slow moving, calm violin section was performed and simultaneously some short grains recorded. The grains were then mixed in, providing texture and mystery.

Track 5, Meditation: My (human) voice was sung into the Soma Pipe, through to the Soma Cosmos in fractal mode having fun adjusting live the Blur and Drift settings, with the Granie at the end of the signal chain. As with the other tracks, 30 second grains were recorded, played back whilst adjusting grain parameters, some of which were recorded as automations, leaving my hands free to adjust other grains and so forth. Soma Pipe modes here were alternating between the Harcho (best described as a thick stew soup) and the Filterra (band-pass filter with resonance control).

Track 6, Return: Track 6 returns to a similar style of track 1, playing the Soma Enner to the Soma COSMOS and back to the Granie. The Enner parts used a combination of a drum brush played through the face-plate piezo pickup, finger drum tapping and the touch plate oscillators. Then recording 30 second grains into Granie and experimenting live, with the granular synthesis parameters and feed back controls.


EnnerMadness 04: Relief

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