prayers for suffering people..right. cleaver and meditative good stuff

The context of creation: 
a room where a shy sun shines 
for a few hours.
Isolation.
The winter.
Uncertain times.
Stretches of hours.
Tensions.
I look at a candle.
it redesigns its shape as it wears out.

I Am the one who fuels the fire
I am the one who consumes it
I am flame
Devoured by itself.

Its glow
Like a wound in the dark.

----------------------

new edit made in 8/03/2024

some sample are made by vocal messages from: Ugo Pisco Lùmaia

here's the following link on his page

https://soundcloud.com/12-days-for-a-new-way?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Tra La Fiamma E La Cera (cattedrali In Rovina)

Tra Fiamma E Cera (cattedrali In Rovina)

Birth Pangs of a New Time

Tried balalaika and mandolin this time together with violin

OLD PHOTOS VI

All sounds come from the initial spoken phrase 'Why don't you stop' .. and roughly follow the shape of it's waveform for overall structure. The sounds at any particular point in the piece are generated by the associated lexeme in the vocal phrase using an Akai s950 hardware sampler and its built in editing routines.

Performed 'live' straight into the mixing desk via the separate outputs. Sequenced by Logic. Mastered onto cassette.

Why Don't You Stop

Why Dont You Stop

Created with Cubase and VSTs by Native Instruments and Dawesome. Guitar Loops, additional effects and Make Noise Strega recorded with iPad/AUM.

Sample by https://freetousesounds.bandcamp.com (Ambient Hydrophone Sample Pack)

Inspired by Naviar Haiku 526:
https://www.naviarrecords.com/naviarhaiku526-turning-around/

Photo by zenbytes (Vosges Mountains, France, 2012)

turning around my shadow - Naviarhaiku 526

Recorded, mixed & mastered 07 Jun 2019, 27 Oct 2021 & 09-10 Feb 2024 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

Process notes

09 Feb 2024
I have a 5-track Live template for my Bubble Memory project name, so I loaded a windy backyard recording of a kalimba & a glass from Oct 2021 into that. I split the backyard recording into the two tracks I have set aside for field recordings. Each has tons of processing loaded in already. The template includes kick and snare parts so I started by creating a minimal beat that might hopefully hold this thing together and added some lesser probability to those notes. 

I also have a Simpler track in the template so I loaded some of the backyard recording into that one too. I found the entire thing too constantly noisy and wrote some ideas to my notes about gating & adjusting some of the effects before shutting down for the night.

10 Feb 2024
Loading this back up, I first worked on adding some gates to a few of the tracks to thin out the noise bits. I added an iAbyssal recording I made in 2019 to the final track in the template. Added sparingly both an Arpeggiator to the Simpler track & a Note Repeat to the drum track. Then I worked a bit on other automations, including panning. This felt like it was done and I rendered both a mastered and unmastered mix for later use and for this Junto. It still felt like wind to me.

Instruments & stuff - Ableton Live 12 & native devices, K-Devices Shaper 2 & Secta, iZotope Ozone 9, kalimba, wind, iAbyssal, iPhone, iPad, tabletop, bottle

Artwork: From the LIRR, NY, USA, 27 Jan 2011, by Jim Lemanowicz

©2019, 2021, 2024 Jim Lemanowicz

------

This original version of “Brown Paper Lips” was submitted as part of Disquiet Junto Project 0632: Shear Wind. The Assignment: Make the most of the disturbance within a field recording.

More on the Disquiet Junto at: disquiet.com/junto/

Subscribe to project  announcements: https://juntoletter.disquiet.com/

Project discussion takes place on https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

This track was originally released under the artist name "Bubble Memory."

Brown Paper Lips (disquiet0632)

released March 29, 2024

https://petrilahtinen.bandcamp.com/album/three-ghosts-one-forest

https://soundcloud.com/petrilahtinen/sets/three-ghosts-one-forest

Petri Lahtinen: field recordings, electronics
Paul Mimlitsch: clarinet
Martin Hoogeboom: objects, electronics, guitar

Mixing: Martin Hoogeboom
Mastering: Rupert Clervaux

Cover design: Martin Hoogeboom

Ghost in the Forest Act 1 /// Petri Lahtinen / Paul Mimlitsch / Martin Hoogeboom

From the album: https://jeffgburekprojects.bandcamp.com/track/may-there-come-brighter-birds-of-song-to-zeitoun

Buy via Bandcamp!

May There Come More Bright Birds of Song to Zeitoun

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 - Like Tears In Rain

Using hydrophone recordings from May 8th at Lake Rusalka, field recording from Milicz Ponds on May 3-5, Schumann resonance small percussion textural sounds from glass, pine cones. A meditation during an approximate Coronal Mass Ejection (I feel it, anyway). Cazimi is an old astrological term from Arabic for rebirth of planets after being bathed in the sun. New Moon yesterday was a cazimi. Upcoming fro Uranus and Jupiter. Rebirth of law and order maybe ahead. Prayers for the protection of people In Rafah.

Earthbeat Cazimi for Rafah

Don't Let Your Eye Touch The Pillow

listeners will find here the most recent edge of my research as well as album samples and one-offs from the last 10 years of my solo work, from official, upcoming releases, unreleased oddities, works in-progress, & experiments, all music by jeff gburek and collaborators, as noted. support directly via paypal: jeff.gburek@gmail.com or buy albums via https://jeffgburekprojects.bandcamp.com/

Earthbeat Cazimi for Rafah

Jeff Gburek

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