j'aime beaucoup le contraste des textures dans cette pièce : des coups sourds, mais furieux / des transitoires fragiles :)

really nice use of atmosphere. keep up the good work :)

As Fun As

Rework of Kosmische II same but with piano elements

Kosmisk Strålning II

While I Was Sleeping

New release, 30th September. The original soundtrack for a film not yet made.
peteswinton.bandcamp.com/album/daught…of-nosferatu
A review : www.nocovision.com/.../pete-swinton-daughter-of...

Daughter Of Nosferatu Ch. 3

Lyrics by C.

The day is wearing a thousand shades of fall
Red, green, brown, and lucid as rain
Home is where the stories are insane

The drops of rain
I’m falling again
Towards the path of thee
It’s another lemon tree

Average 
The one I don’t belong
The one that keeps me mighty and sharp
As the thunder keeps the light

I fall for the shades 
And it falls into place to alter the origins of mine
Into a home for every soul

Containing There is no such thing 
For that infinity is the only word
I can take shelter under the loopy roof

Here are my lines
And if you look closer
You’ll see yours
Just between the lies

Not the one of repetition
But some just can’t keep it in the momentum

Here are the shadows
I’ve been ready to share

Here are the meals
I’ve been in to prepare

Here are some of the shades
Not meant to fade further away
For that, I have many homes to ride in the say

Shades

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

The Third Stage

Disquiet Junto Project 0643: Stone Out of Focus
The Assignment: Make music inspired by a poem.

Step 1: This project is inspired by a brief poem by Yoko Ono, in which she wrote, “Take the sound of the stone aging.” Consider that sound.

Step 2: Record your impression of the sound of stone aging.

Background: This week’s project is based on a text by Yoko Ono, originally published in her book Grapefruit 60 years ago, back in 1964.

Freely inspired by:  
Singende Steine Rhythmus-Studien an drei katalanischen Kreuzgängen romanischen Stils By Marius Schneider · 1955

Singende Steine II(disquiet0643)

CAMP R P

XLRAY (Ultra Slowed & Bassboosted)

What if sonic practice were not only artistic expression, but a mode of critical reflection — a way to generate knowledge about the positionality of both producer and listener?
To explore this, I invited the artists I interviewed to contribute sound samples — fragments from their production process — to build a collective sound “database.” With this samples gbw9, Melag0m, Kurzschluss, Mahée and HAUSVRAU produced soundpieces - which are released in the format of this compilation.
Here, sound is activated as a method: both a tool of knowledge and a relational medium. The resulting sample pack reflects diverse sonic practices and acts as a collaborative, affective archive.

Infestation as Sonic Resistance
I use the term infestation to describe how certain practices — deemed disruptive by dominant standards — disturb normative structures, much like weeds invading a manicured garden. Infestation stands for persistent, collective disruptions that challenge the status quo.
This concept ties into anti-capitalist modes of music production. By embracing collaboration, shared authorship, and relationality, the sample pack resists neoliberal values of individualism and competition. It becomes a sonic commons: a space for co-creation, not extraction.
INFESTATIONcan be thought of as a harmful seed, a seed that grows subtly, slowly. The sounds creep in sideways — rough edges, broken rhythms, distorted textures. Infestation is when sounds start growing in the cracks. Cultivated through collaboration, Infestation values disturbance, tension, connection, shared creation and finding new paths.
Some artists in this compilation are boycotting Spotify due to its investments in the arms industry. In solidarity, we are releasing the project exclusively via alternative platforms like SoundCloud and Bandcamp.

As Fun As

kzz

Recent comments

Soniare

technelligence

NEU

Martin Hoogeboom

Related tracks