ans, ambiente, drone

Testing out and playing with some ambient patches, writing new ones and sampling Virtual ANS into Reason's NN-XT.

Virtual ANS Ambient Jam (Nebulae Complex_Tekhnotron)

"Onhitansa" - shortwave radio ambient.
This is not recording but synthesized track.
Description at AmbientOnline.org forum: http://tinyurl.com/pauejz4


Onhitansa

VA 2

Garden Cuenca Etude Mr
Instrumental piece for guitar and piano. 
The picture is the garden from the house where I was born. Goof memories

Garden

field recordings out of the unsettling rooms of the former Oxford barracks / Flakkserne in Münster / Germany, manipulated and remixed with recordings from other places. Developed out of the psychogeographic field exploration / audiovisual installation „Ort ohne Heimweh“, an artistic collaboration with Thomas Gerhards and Werner Rückemann, August/September 2023.

ORTrmx4

Finally unearthed, for your listening pleasure! A close relative of dense/hyphae.

Enjoy.

basil (dense/hyphae II)

Marco Lucchi : organ, piano and synthesizer
*idematoa* : synthesizers

Marco Lucchi & *idematoa* - Omnia florent

strange girl

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

Like Tears In Rain

Laughing and Grief

Guitar, five chords, drums, effects, one improvisation take 
Musically speaking ... NOTHING ELSE TWO!

NOTHING ELSE (two)

Hohner Organa 12 Electric Wind Reed Organ

LP021   Into the Inner Space

Reed Organ Meditation 1

tricks

Composed on Sunday 7-22-12 on the Virtual ANS softsynth. Image Resolution was 10,240 pixels wide by 512 pixels high. Title borrowed from the poem of the same name by William Blake. 
The Virtual ANS  - the abbreviation for "Alexandr Nicolaevitch Skryabin", the great Russian composer) is the software analogue of the first Russian synthesizer in which the unique optical method of synthesis, developed by a scientist E. Mursin in the years 1937-1957, is used. 
see: http://www.warmplace.ru/soft/ans/index.php

The Crystal Cabinet

Piece created in Virtual ANS 1.0 Softsynth, a synth that turns your drawings into sound. This is the 192kbps version, you may freely download. 
Just lower your volume if you get crackly sounds.
Get your own Virtual ANS here: http://www.warmplace.ru/soft/ans/index.php
Version 2.0 is now available!

Night Of August 15th

For best experience with my tracks use headphones.

Contact me if you want to use of my music in your projects.

Join me and other ambient music passionates at https://www.ambientonline.org

Onhitansa

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