Late night when you need my love Call me on my cell phone Late night when you need my love I know when that hotline bling That can only mean one thing I know when that hotline bling That can only mean one thing  … Ever since I left the city, you, you

#HundredthLike 😜 Thank you for sharing 😌🙏

Nice music. But rhe pad is too high, i sugest mix afgain and low the pat 6db

I Could Be Your Dog / I Could Be Your Moon

I Could Be Your Dog

Holotropica

Hypnogogia (feat. Dolphin Midwives)

See-Through

Patricia Wolf - The Grotto

Diatom Deli - Disarray

Listen / Buy: https://found.ee/rvngnl79

Lyrics
Guess I'll get away
since the day went wayside
I'm waking up in
six shades of disarray
all because I didn't go
Tell me is there someway
to skirt around this high tide?
or do I just let it cast me away?
oh how my fears crash then overgrow!
My old ways in which you cared for
go away once I start knowing
Since i've been away
my days are on the upside
but I'm looking
hard for you
in six shades of disarray
cause when I'm lost
you're where I'd tend to row
you know it's hard to think
how could it end up this way?
no honor and no meaning
tells me love has a way
on why it feels right to let it go
though I don't want to
My old ways in which you cared for
go away once I start knowing
Maybe we could try
Or maybe we won't
I miss you so much

©2022 RVNG Intl. // www.rvng.com

Time~Lapse Nature

Diatom Deli - Disarray

Wild Tigers I Have Known: Original Soundtrack Recording

To Run Wild

Voiles

Cicada Lite

Mourning Dove

Terra Preta

Jungle Mist

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

I Could Be Your Dog

Kaitlyn Aurelia Smith

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