beautiful breathing ambient & wide dynamic range

Another piece with my friend @Rosindust, the 23rd, so far...
I can't give it a definition of its musical genre, there are many things in it and in these cases I solve the dilemma with a nice tag "World", which in fact means everything and nothing, or maybe only that it's not extraterrestrial music :)
Or maybe, in this case, choosing "World" is just right: a few days ago I was in Marseille, France, it was early in the morning and while everyone was sleeping I received on my cell phone the recording of Tatiana's part from Siberia. I listened to it and I replied: "Thank you! Tonight, in Rome,I'll put it all together and I'll let you know".
A few hours later, she was probably walking in a wood when she listened to the finished track I just sent back. Now it seems normal but, just thinking about something like this, until a few years ago it would have seemed impossible...
The wide world has become a small world.

Here the other collaborations with Tatiana: soundcloud.com/francescocartocci/sets/grazie-tatiana

Composition and all arrangements: Francesco Cartocci

So far so close - with Rosin dust

https://radiophrenia.scot/

Bricks made of audio excerpts from 1970’s detective television programs are stacked in a cluttered formation. The samples used are not dialog, musical scores or intricate foley - but of the bits that remain. The shuffling, coughing, moving, activity of people; as well as incidental music, traffic, machines and the occasional radio burst. A mortar of ambient sounds fixes these bricks into a wall ripe for mediative viewing.

RADIOPHRENIA is a radio art collective, festival and art radio station broadcasting intermittently across Glasgow.  

RADIOPHRENIA first began broadcasting in April 2015 with subsequent editions in 2016, 2017, 2019, 2020, 2022 and 2023.

Proof of Concept - Radio Art (2025 Radiophrenia Broadcast)

Another example of a previously uploaded song, but with just one track isolated - the horns. The original, full song was performed by the Eclectic Collective, and written & sung by our multi-talented friend Ken. This is a condensed version of the horn section I had written for the chorus, which includes VST trumpet (x2), saxophone, and trombone.  Here's the original, full version of the song:
https://soundcloud.com/k2andthe3/happy-ever-after

More goodies in the "ISOLATED TRACKS" playlist:
https://soundcloud.com/user-432503709/sets/isolated-tracks

(image created using ChatGPT 4o)

Happy Ever After (ISOLATED horns)

Here's our first real collaboration — two artists and now good friends, trading music back and forth across the Pond. I started with the guitar foundation, and JB added his signature touch with beautiful guitar layers and vocals. We hope you enjoy what we've created together. To listen to more of JB's wonderful work, go to: https://soundcloud.com/jonathan_beckenstein

Would you like a version that’s more casual or more formal?

Steady

When the railway runs along the coast, right beside the sea, there are many tunnels. Sometimes they’re so narrow that two tracks must draw near to one another to pass through. That’s how a strange love story begins between them.
This is a song I wrote around the year 2000, one of my last. I think it has a good mood. I’ve remixed and partially rearranged it.
You can still hear the warm tone of the Washburn, along with the old Yamaha’s sounds (including the flute). The sax — reworked by me  — is kindly provided by Dropgun Samples.
Still, as always, everything is very handcrafted.

Below is the English translation of the lyrics.

They converged at the tunnel’s mouth,
suddenly parallel —
twins of the railway.
They looked at each other, studied each other,
just enough
to not quite grasp
how much the one beside you knows of you.
They hesitated, thinking of the road behind:
companions in adventure,
but now unsure why.
And then they stared at the night gaping inside the tunnel:
a magnificent promise
to be traveled on the thread of fantasy.

“Inside this darkness, maybe we will never part,
under this shadow, maybe you’ll finally know me,
after this night, who knows where you’ll fall asleep —
perhaps closer to the sea…”

They parted at the tunnel’s edge,
but a narrow wall concealed a silence
charged with jealousy,
shaped like fear — fear of that strange kind of courtesy,
fear of the light,
fear of the end of the tunnel.
“Parallel track,
mirror born of the railway,
traitorous twin,
lover made of parody.
Don’t tell me that
after this darkness we’ll never part,
that under this shadow you’ll finally touch me,
that after this night, who knows where you’ll take me —
perhaps down by the sea…”

And at the end of that masterpiece of engineering,
only one of them
came rushing out of the tunnel;
on instinct, he turned and saw
that the sea was beside him,
and under the sea, the sky,
and beneath the sky — who knows what lies...

“After this darkness, surely we will never part,
inside this shadow, surely you’ll let go,
after this night, I cannot say where you’ll fall asleep —
perhaps closer to the sea…”

----

Confluirono all'ingresso della galleria
improvvisamente paralleli 
gemelli della ferrovia.
Si guardarono, si studiarono quel tanto che
non basta a misurare sino in fondo
quello che hai di fianco cosa sa di te.
Indugiarono, pensarono alla strada dietro di sé:
compagni di avventura,
ma ora non capivano perché.
E poi guardarono la notte spalancata nella galleria:
magnifica promessa
da viaggiare sul filo della fantasia

"dentro questo buio forse noi non ci separeremo mai,
sotto questo scuro tu finalmente mi conoscerai,
dopo questa notte poi non so dire dove ti addormenterai,
forse più vicino al mare ..."

Si congedarono sulla bocca della galleria,
ma parete stretta nasconde silenzio
fatto a carica di gelosia,
fatto a forma di paura di quella stranissima cortesia,
paura della luce
paura della fine della galleria.
"Binario parallelo,
specchio generato dalla ferrovia,
gemello traditore,
amante da parodia.
Non dirmi che 
dopo questo buio noi non ci separaremo mai,
che sotto questo scuro tu finalmente mi toccherai,
che dopo questa notte poi chissà dove mi accompagnerai,
forse giù vicino al mare ..."

E alla fine di quel capolavoro di ingegneria,
di loro uno solo
usciva di corsa dalla galleria;
d'istinto si voltò e vide che
c'era il mare di fianco a sé,
e sotto il mare il cielo,
e sotto il cielo chissa cosa c'è ...

"dopo questo buio certo noi non ci separeremo mai,
dentro questo scuro tu sicuramente ti abbandonerai,
dopo questa notte poi non so dire dove ti addormenterai,
forse più vicino al mare ..."

----

Composed by Michele Ansani (1999)
Posted on SoundCloud: 2025, May 16

Down by the sea [Viaggio di nozze] *

It's a pleasure to see the sun again ! In this track I used classical guitar, electric piano & guitar, piano, percussions, drums & bass. Thank you for passing by and listening !
Composition: Julien Apelian
Recording studio: Audio Colors
May, 17th, 2025

Here comes the sun again

Chione - Reverie in E minor

The Horseman

2022. Remixed 2025
Reytraze,
Rontramiloniclampilon
Reytrice, reytrice,
Rantron,
Rantramiantilompiclay,
Rantry, rantry,
Rantry,
Rakeli, trampalonit trampolaz,
Rontreemlonit trayplize,tratrize,
Ramplon, ramplonikitchpolonitray,
Retry, retry,
Raytrolomitraytrine,
Rantrolomias lopontiate,
Rantron, Rantron
Tampolite, tampolite,
Anthroclomped,
Rampiate rolontaplon, loncrom 
Rantromit tronpiate,
Rantramma lampolate 
Antroclomitront,
Trantrolomilant,
Rantreemalompicont,
Rantromirantocont,
Antromitlompilate,
Rantromilompilate,
Tremes,Tremes, Rampolon,
Tremes, Tremes, Tremes, 
Romolon 
On. On. On.

Tremes

Cast of Characters:
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 – Sigma acoustic guitar, Collings mandolin, Roland piano, vocals, vocal harmonies, and arrangement
TexMex Shaman– @texmex-shaman –Stephen– Gibson Earle Scruggs banjo, arrangement, production, mix, and mastering        
This song is a Phish song written by Trey, Page, Fishman, and Tom Marshall, who wrote the lyrics. Originally, on their album Hoist, it's just Trey playing and acoustic guitar and singing. Stephen and I wanted to give it our own flavor though. After I asked him to play banjo on it and produce it for me, we started spitballing ideas about how we could add something more to it. Originally, we both played every instrument, guitar, banjo, mandolin, and piano, through the whole thing, except the first and last verses. Then we decided to trickle the instruments in for maximum effect. I also sang the harmonies throughout. Finally, Stephen came up with the idea to wrap the last verse in a mono effect, giving it a detached feel. He mixed it brilliantly, too.
  This song has always had a special place deep in my heart. Sometimes you hear a song and recognize such truth in it, it feels like it was written about you. This is such a song for me. Plus, it was written by my favorite band, Phish, so it has even more meaning for me. We hope you enjoy listening to it as much as we enjoyed making it.

Dog Faced Boy by Phish (with Texmex Shaman)

Experimenting with descending and ascending patterns

Morning Expression

Morning Expressions

Busy with developing my first video game -- it's why I'm less active here.

Self-taught orchestral and electronic composer.

Pianist/Composer for Amidst The Withering

Chione - Reverie in E minor

MassJr

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