Pilu is Indian evergreen raga, which uses all the chromatic notes, which all the notes have visitation rights. Pilu raga is performed late afternoon before sunset.

Mishra is a word from Sanskrit that means mixed, which allows tremendous scope for the artist to bring in melodic lines from other ragas. Mishra Pilu raga is full of devotion and piety by expressing the mesmerizing mix of emotions, which are an eternal source for human emotions: joy and sadness, longing, tenderness.

My intention was to create slow motion changes, which on the one hand are based on very strict patterns, and on the other hand – can hardly be noticeable.  

Pre-recorded electronic material is recorded
 by Emma Jane Lloyd. 

The work was commissioned by the “The Night With…” with support from Creative Scotland and PRS foundation in 2021/2022.

The work was performed by Emma Jane Lloyd (violin) at Summerhall, Newington, in Edinburgh on 4 April, 2022.

The work is dedicated to Emma Jane Lloyd.

Mishra Pilu

Vegetative State

TOUCHING TOO LOUD (single #1) from long awaited Spark In The Machine LP out 1st December 2025
on Bandcamp: https://olaszmidt.bandcamp.com/album/spark-in-the-machine-2

Press Release: 

Ola Szmidt’s music breathes in the rhythm of wounds.
Those visible, and those hidden beneath the skin.

She lets them speak through her in their own language.

It is the voice of women whose tenderness has been silenced for years, pushed into the shadows. Now, in subtle whispers, in trembling resonance, it slowly finds its way to the surface.

Each phrase is like a breath of freedom, a fragile yet courageous touch of the truth. Though still “too loud” for a world accustomed to silence.

This album is an intimate testimony of healing.

A process in which pain does not vanish, but transforms into strength.

In the space between silence and voice, between fragility and courage, Ola captures something essential: the path of reclaiming oneself.

It is music for all those who know that scars are not an end.
They are like a memory. They make us more sensitive and stronger same time. They are like a map leading towards freedom.

Touching Too Loud is a journey through the landscape of body and soul that have learned to live with scars.

They told us to be quiet.
To fold our feelings into silence.
To carry pain like a secret,
and let fear stitch itself into our skin.

But silence is not the end.
Beneath the weight of what was done to us,
our voices never disappeared

TOUCHING TOO LOUD is the sound of that waiting ending.
It is the trembling breath of women rising from shadows,
the fragile resonance of truths once too dangerous to be spoken.
Each musical line is a scar turned into a voice. And from those multiple lines, a song is formed.

This is not music for forgetting what happened.
It is music for remembering.
This is music about growing up, becoming stronger,
For feeling the wound and the healing at once,
for reclaiming the body, the tenderness, the right to be heard.

Here, our voices are no longer small.
They are subtle, yes, but unstoppable.
They are soft, but unbroken.
They are free.

Press Release written by Karolina Wolska
meditativedrawings.com  

#electronica #livelooping #rc505

Spark In The Machine

Pre-Order Deluxe Vinyl

TOUCHING TOO LOUD

Azimuth
Valhjim

Shimmering bells turn slowly in the firmament, their tones panning left and right like twin orbits of sound. Distant church bells toll as an electric guitar opens the path to a quieter realm, where smooth woodwinds and soft string textures linger in serene skies.

A violin motif plays above it all and descends in near-chromatic motion, its path echoed by faint afterglow textures before the guitar and saxophone engage in gentle dialogue.

Three solitary metallic notes usher the passage to light: a bright, bell-like riff answered by two choirs singing slightly out of phase, their descent giving way to a sustained duet by a waving choir in blue textures. Above them, a female voice drifts in quiet harmony, while the violin returns to trace its final motif — seeking, at last, its true azimuth among the stars.

**********************
Valhjim: guitar, synthesizers, samplers.

Azimuth

Mournful ode to a crumbled city and it's inhabitants.

Bahkmut

This was my contribution for Disquiet Junto Project 0724: Work it. The Assignment: The year’s almost over. Do that thing you’ve been meaning to do.

Here’s a copy of my post on the Disquiet Junto 0724 discussion thread on Lines:

I have a tendency to overwork a track to the point where it drifts away from what I initially envisioned. Many times it works out okay but other times, it doesn’t. So this time I backed off and tried to keep it minimal, which was my original vision.

Created in Ableton Live using Slate + Ash Cycles and a MIDI keyboard

More on the 724th weekly Disquiet Junto project, Work It — The Assignment: The year’s almost over. Do that thing you’ve been meaning to do — at https://disquiet.com/0724/.

Remembering Stone Patterns [disquiet0724]

Throbbing melancholy (it took us by surprise) from our December 20, 2024 jam session...
With David Christophe aka @david-lund-music on bass and vocals, Olivier Taskin aka @olitaski on drums and piano, Jann Dūne aka https://soundcloud.com/nina-sky-w-k-coeur on guitar and vocals, Frederic Aerden on processed field recordings, and https://soundcloud.com/antonindebemels on groovebox.

Drawing: Sandrine Nicaise

Silence (for your eyes)

Chimera

Eucalyptus

Soothing Edits

This is another in my continuing obsessive series of making small piano miniatures. By focussing in on just one word in this week's @naviar-records haiku challenge, I'm also keeping the parameters of the composition tiny too: two piano lines that makes for a very simple piece to play.

The only changes I use Logic to make are the velocities of individual notes, and using the valve mastering preset.

Here's information about this week's @naviar-records haiku challenge:

"Under the burning sky -
a procession of ants,
without end."

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of sabi (solitude) in order to achieve spiritual enlightenment and serenity.

The piece's title "Without" is taken from this haiku by Santoka Taneda

Extract of picture by Peyton Clough

Submission deadline: 10th December 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Without (naviarhaiku622)

Leon Clowes

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