Happy full moon 3/03. A different kind of acid.

Moon Finding Exercises

this is one part of LOYSELIANS AND PFLEUMERIALS honouring two innovators.
(the "pfleumer" referred to here gave us magnetic tape for sound recording)
copyright for the sounds, the image and especially the poem: jo richter

credentials recorded
fraying tape
cracklin'n'hissing
static noise

third-floor voices
cellular tape
a loop is as good as
the grip on the splice

pfleumerials

pfleumerials (loyselians & pfleumerials pt 1)

O-Wild Falls

TAFFETA | 266

After 266 chapters, TAFFETA has finally arrived at its last page. What began as a personal experiment slowly became a long, unfolding journey that I had the privilege of sharing with all of you. Week after week, your listens, messages, encouragement, and quiet presence made this project something far larger than I could have created alone. I want to sincerely thank every person who took the time to step into this world with me.

To those who followed from the beginning, to those who joined somewhere along the way, and even to those who only discovered a single chapter—your support meant more than you probably realize. TAFFETA has always been about exploration, patience, and the slow emergence of meaning over time. I’m deeply grateful that so many of you were willing to travel that long road with me. Thank you for listening, for believing in the work, and for being part of this journey.

The Decision That Would Not Let Go
There are projects that begin with ambition, and there are projects that begin with a decision so quiet it barely announces itself. TAFFETA belongs to the second category. It did not arrive as a career plan, a brand strategy, or even a fully articulated artistic statement. It arrived as a constraint—one that, once accepted, refused to loosen its grip.

The decision was simple, almost reckless in its simplicity: one complete piece of music every week. Not sketches. Not fragments. A finished track. With finished artwork. Released publicly every seven days. No backlog to rely on. No pause button. No seasonal breaks. No adjustment if inspiration faltered. A deadline that did not negotiate.

TAFFETA did not begin as a story. It began as a practice. Each week another chapter would appear. Another piece of a world that did not yet exist in full, but insisted on being assembled in public, in real time. The rules were self-imposed and absolute. A track had to be completed. Artwork had to accompany it. No matter the internal weather—fatigue, uncertainty, distraction, clarity—the work would move forward. What emerged from this was not productivity in the conventional sense. It was exposure.

Desire fluctuates. Will must remain.

This distinction quietly shaped everything that followed. As weeks accumulated, something began to condense—not through outlining or careful plotting, but through repetition. A dream world formed. Not autobiographical in the literal sense, not a transcription of lived events, but a parallel interior terrain. A place governed by different physics: memory without chronology, emotion without explanation, presence without body.

From this terrain emerged the faint pull of narrative: a woman, withdrawn from waking life, suspended in a coma after the sudden death of her husband. The story was never told directly. It did not need to be. The music and cover art carried it obliquely—through atmosphere, recurrence, and subtle transformations that resisted clarity.

This was not a story meant to be explained. It was meant to be inhabited.

Five years is long enough for novelty to decay. Long enough for technique to sharpen. Long enough for the person who began it to become somewhat unrecognizable to the person finishing it. The early chapters were not revised to match the later ones. Nothing was retroactively corrected. The work was allowed to age in place, carrying its imperfections forward as evidence of time.

Over 266 weeks, this question was asked again and again.

TAFFETA did not begin with the intention to create a “masterpiece.”
It began with the refusal to stop.
Everything else followed.

Note: The final TAFFETA compilation, VOL 18, which includes the final 11 chapters, will be available for download on Bandcamp on April 3rd.

Taffeta 266

TAFFETA | 266

Be My Guest

Vocal performance by Hayley Devine @hayley-schneider-1 @hayley-eva-rose-devine
Sounds by Box Number Ten
Song written by Robert Johnson (1936)

Come On In My Kitchen

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music
https://trampelfad.bandcamp.com

Rec.name : "  Small Ones - Port  "
credit : ipad 9 , plugdata ,Doepfer A111-5
date: 16.03.2026

Daily Video :
https://www.youtube.com/watch?v=RtYGyNx8Rzo

Colapl Cor

fractal/offal n*7  [walzer]

https://soundcloud.com/pier-will/tracks
https://www.instagram.com/pier_will_4h09/
https://www.facebook.com/pier.will.77
https://fr.pinterest.com/pierwill/

Recording sessions from 04/09/2025 - 02/01/2026.
presets, mixing, processing and editing: Pier WILL.
________________________________________________________________________
🛠 - Made with MOOG & Modular / Multi-tracks / No I.A. / No samples.
🎹 - Composed, arranged, performed, produced by Pier WILL & 4H09
🔲 - Cover art - Pier WILL
🙏 - Acknowledgements - Ableton, AKG, Arturia, Audacity, Cantabile,
Focusrite, Hewlett Packard, Korg, Logitech, Marantz, M-Audio, MSI, 
Sony, SoundCloud, Teac, Techniks, Yamaha.
________________________________________________________________________

Serenity-7-

Marco Lucchi : piano, synthesizers and tape

*

found sounds
https://freesound.org/people/felix.blume/sounds/832436/

Soliloquy [the screaming fox]

"Wichita Lineman" is a 1968 song written by Jimmy Webb for American country music artist Glen Campbell

Vocal : Debbie Lynn

Witchita Lineman

"I'm a mellow artist, ageing 69. I love and release eclectic music, from post-classical to drone. My fave instrument is the Mellotron."

Così, sinteticamente, di solito mi presento.

In genere compongo musica partendo dal suono delle tastiere, ma il mio vero strumento è il registratore.

O i software di registrazione.

"I was made for loving and making recorded music."

Confido da sempre nel potere evocativo e orfico della musica, nella sua capacità di riconsegnarci a mondi più veri e più giusti, più belli di quelli in cui di solito viviamo.

"Ich bin ein kosmische Kurier"

I'm using these tools: Mellotron micro, Waldorf Blofeld synthesizer, Behringer Crave, IK Multimedia Uno synth, Roland Juno synth, Volca keys, Casio digital piano, micropiano Korg, Manetron (iPad app), iTampura (iPad app), Eko 11 (...) string acoustic guitar, electric violin, Orla analogic expander, tenor, treble and descant recorders, soprano and tenor tin whistle, Akai, Roland, Alesis and Arturia controllers, upright piano, Squier 3/4 electric guitar, melodica, Bubble Harp (iPad app), Schoenhut toy harp, soprano ukulele, Eko acoustic guitar, Peavey Composer acoustic guitar, Kurzweill micropiano, Boss and JamMan loop stations , Behringher multi-fx, Olympus portable digital recorder, Phonic, Behringer and Yamaha mixers, Audacity, Paulstretch, various players and plug-ins .. (that's all, folks, I think ..)

latest releases:

https://whitelabrecs.bandcamp.com/album/the-book-of-dreams
https://chitrarecords.bandcamp.com/album/lieder-ohne-worte 
https://ambientologist.bandcamp.com/album/suggestiva
https://ambientologist.bandcamp.com/album/venusia
https://hibernate.bandcamp.com/album/as-riddled-as-the-tide

for further works please go to my bandcamp page
https://marcolucchi.bandcamp.com/

and to 
http://webbedhandrecords.com/
http://www.laverna.net/home/
https://silentflow.org/

iTunes and Spotify as well ..
feed and share ..
https://open.spotify.com/artist/1TRilVaDaQw0ksGqU5tuCh?si=zXD-0xFWS-2yrUs542SH9A

SoundCloud è la piattaforma musicale che preferisco perché è soprattutto il regno degli ‘amateurs’, di quelli che fanno musica per sé e per gli amici .. come quando da ragazzi si condividevano con gli altri le invenzioni e le creazioni .. io sostanzialmente sono rimasto lì e così .. non sempre, ovviamente, ma spesso ci trovo delle cose che valgono altrettanto - se non di più - rispetto a quelle più affermate e conosciute

Soliloquy [the screaming fox]

Marco Lucchi

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