lovely piece- it's what I imagine it would sound like if Andy Summers worked with Sigur Ros

Kit: Animoog Z, iVCS3, uKorg, Noise Maschine, Sector, PO16, DrumComputer, Logic Pro X
Acknowledgments: Cover Art - still from, "from darkness into darkness" (2021) by SERAFINE1369.

I Seem What You Mean To See In Me

EYE can lead you through wastelands ov because and into thee zone ov FANTA-ZEEE..
a nu land in thee dawn ov PANDAEMONAEON::: 
https://soundcloud.com/forcefielddragons2358

FORCEFIELD DRAGONS - Dark Trip Into Thee Lovelight

Updated June 7, 2023: Synline has made collaboration work for me.
https://soundcloud.com/synline/the-river?si=d85aada01c7b4a0a9c8e26a590f06cce&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

--
In January this year, we lost the great musician and drummer of YMO, Yukihiro Takahashi. As if following him, last month, Ryuichi Sakamoto also passed away. Having lost two respected musicians, I find myself without emotional support and have been creating music daily, tracing their music and lives. Unconsciously, the songs I create are heavily influenced by their music. This song is one of them. When I listen to the finished piece, I feel it somewhat resembles YMO's "Expecting Rivers." These days, I find "HOPE" in the Milky Way, the heavenly river that spans the sky.

Rivers of Aspiration

Video for track is here...
https://youtu.be/tyJwjwgFSxU

naviarhaiku508 – Deep, dark Summer night

Deep, dark Summer night
A sudden shaft of moonlight
Blesses the temple

John Hinks, aka FlownBlue, is a prolific and talented composer, and a regular participant in the Haiku challenge. Aside from his solo project, John is also involved in multiple projects: ‘Windfall Light‘ (with Jim Tetlow), ‘Abstract Blue‘ (with Kevin Buckland), ‘Light Fragments‘ (with Steve Escott), Szukanie (with Michał Wojciechowski), and Meadowlight (with Emma Reed).

Moonlight blesses the temple (naviarhaiku508)

Attoseconds In Deep Time

Composition inspired by haiku written by Marco Sebastiano Alessi

Endless echo
Footsteps on an empty house
Once full of life

Once Full Of Life

Once Full Of Life - (naviarhaiku512)

Bring Me Your Headlights

Thirty minutes of experimental music made in response to a weekly haiku poem, curated by Marco Alessi of Naviar Records and Naviar's international community of composers.

This episode features music made by Naviar's community inspired by Nakamura Teijo's poem "Come outside!, we can almost touch, the spring moon".

To have your music featured on the show, participate in the Haiku music challenge.


Tracklist

Night Note - Come Outside!
windspace - We Can Almost Touch
zenbytes - touch the spring moon
Stan Magendanz - we can almost touch the spring moon
ray_cobley - Lunar Illusion
Halcyon Hum - Munbotoru

Naviar Broadcast #315 – Come outside! – Wednesday 17th April 2024

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 - Warum

An instrumental mix of New Age and Down Tempo flavors

Angels Lullaby - Single

Angels Lullaby

the 2018 was a very difficult year for me ...
understanding after so many years of having come to the end of a relationship was not easy to accept. I tried with all my strength to save something that escaped me like sand in my hands.
at the same time I poured all my interior experience into the creative act, as a source of salvation, into a cathartic act.
suspension between abyss and ecstasy ...
I was feverishly working on the realization of my first album.
project which, moreover, was interrupted due to the breakdown of my mac .. I lost several important information, such as sounds created with the help of different vst plugins .. and I still try to recover data etc .. to continue the project.
even today it is not easy for me to listen to this piece again.
it takes me back in time, and inevitably a few tears still line my face.
however, it is one of the few pieces accompanied by a text written at the time. I find it extraordinary how pain is able to take new shape through art.
here is the text to follow:

Packaged lives.

Packaged lives.


And in all our going
Without an arrival

Enjoy the trip, at least

While pretending to be tired

Packaged lives

With the heart immersed
Inside a well

Packaged lives

Looking for my place
In the world.


A place in time, with you

Packaged lives

And in all our going
Without an arrival

Packaged lives

Enjoy the trip, at least

----------------------------------------------------
Many thanks to Freesound.org  and the following user: 
TobiasLudwig - For the sample: heartbeat (on freesound.org)
Timbre - For the sample: Yet more static from another old cheap portable analogue television.flac (on freesound.org)
Rucisko - For the sample: traffic (on freesound.org)
for their great sound capture.

Packaged Lives

James is a multi-instrumentalist creator of music as well as a contemporary artist. He plays stringed instruments (guitars, cello, ukulele, bass, etc.) and uses a midi controller for any instruments he doesn't have access to; such as a timpani or a glockenspiel.

James creates music that is inspired by the pure love and joy of making music. The style of music he creates varies from piece to piece. He will go from songs that are accompanied by guitar or ukulele to full arrangements of a traditional North American band to orchestral scores that you could easily hear backing a film or video. 

By browsing his music you're likely to come across traditional pieces of music sounding as old as time and other pieces sounding as new as yesterday's jingle. 

Instruments inspire him to make new sounds come together to form music and combining old and new sounds is something he very much enjoys exploring.

While music and sounds are a big part of James' personality so is making art, graphics, and videos. James has worked professionally as a technical illustrator/graphics specialist since 1991. So James almost always creates art specifically for each piece of music he puts out into the world. The art may or may not be directly related to the piece of music in context but it will definitely give you another perspective on how the music has inspired him or makes him feel.

To learn more about James and/or see his art seek him out on Instagram.com and YouTube.com; he’s easy to find if you spell his name correctly.  A pseudonym also being used by James is Mildred Stain.

If you are interested in collaborating in any way, contact him!

Once Full Of Life - (naviarhaiku512)

jamesbrynildsen

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