Deadline: 24th April 2024

All submissions to Haiku 537:

https://www.naviarrecords.com/naviarhaiku537-deep-in-the-mountains/

To participate:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)
- When choosing a title for your piece also include the assignment number, for example “Title of your track (naviarhaiku382)”
To submit your track:
- If you’re a Soundcloud user, upload it on Soundcloud and send me the URL via private message, or tag me in the track.
- If you upload your music on Youtube, Bandcamp or anywhere else, upload your submission and then send me the link by email at marco@naviarrecords.com or contact me on Twitter, Facebook or Instagram
- If you don’t use any music platform, upload it to this Dropbox folder and I’ll include it in the weekly playlist. If you choose this option, make sure you include your name in the track’s title. www.dropbox.com/request/JvKyUfuCSzJ3gRNRocZz
Your track may be included in Naviar's weekly podcasts and free (pay-what-you-want)compilations. If you can, please set the track as downloadable on Soundcloud and allow others to remix/reuse it by using a Creative Commons License.

Naviar Haiku Challenge: www.naviarrecords.com/about/naviar-haiku
Naviar Records store: www.naviarrecords.bandcamp.com

haiku #537: Deep in the mountains - / falling into my heart / autumn streams

Pantoclast + R.S.Stropharia + A.Schwarzer - Over The Red Line Remix By A.Schwarzer(19.05.2022)

Music Video: https://www.youtube.com/watch?v=9vlseUTB994

Memory

Original composition, acoustic & electric guitars, bass, drum programming by Neno J.

Good Old Days

From my new EP: Songs The Night Bird Taught Me, which was inspired by the bittersweet, solitary sound-world of the nocturnal. I hope to take the listener on a journey through starlit waking dreams, inside the liminal world that hums between moonset and sunrise.

Songs The Night Bird Taught Me

The Night Bird

The Night Bird #PianoDay2024

Watch the official video at https://youtu.be/56kSHL9WWGk?si=_OsPHTPuarRU4VUd

© 2024 DiGiorgi Music (ASCAP)

A Curious Dream

An old track, released by Indiesonics/Warner Chapell in 2019 titled "Country Ways". This is an unreleased  alternate version with slightly different structure and a flute track (never heard before) by the great Bobby Rangell from Denver, Colorado.
Rescued from the vault today.

For the haiku 
Deep in the mountains
Falling into my heart
Autumn streams"

Haiku by Shinkei
Picture by Zoe


@naviarrecords

Falling Into Autumn Streams - naviarhaiku537

Deep in the mountains -
falling into my heart
autumn streams

Shinkei (1406-75) was a renowned renga poet and critic, best known for his two-part work "Sasamegoto" (Murmured Conversations). To find out more about this interesting and largely unknown poet-priest, Marco from Naviar recommends reading Heart's Flower - The Life and Poetry of Shinkei by Esperanza Ramirez-Christensen.

Haiku by Shinkei: https://www.goodreads.com/en/book/show/3348384

more halF unusuaL

halF deeP [naviarhaiku537]

This track was created for the Naviar Haiku group.
537
https://www.naviarrecords.com/naviarhaiku537-deep-in-the-mountains/

2024-04-18

Deep In The Mountains  ( Naviarhaiku 537 )

Recorded for the Naviar Haiku challenge #537.

Main players:
Vintage Vibe through a Space Echo
Hammond (Crumar Mojo Classic)
Waldorf Quantum

Recorded in Logic Pro X with a Soundcraft MTK22.

autumn streams [naviarhaiku537]

18Apr24

My naviarhaiku537 track
https://naviarlab.tumblr.com/post/748015592753283073/naviarhaiku537-deep-in-the-mountains

Haiku by Shinkei

Shinkei (1406-75) was a renowned renga poet and critic, best known for his two-part work “Sasamegoto” (Murmured Conversations). To find out more about this interesting and largely unknown poet-priest, I recommend reading Heart’s Flower - The Life and Poetry of Shinkei by Esperanza Ramirez-Christensen

Deep in the mountains [naviarhaiku537]

Solo Piano - Chris Bright

true clear sky - 4:21:24, 7.57 PM

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

Kosmisk Strålning

i want to be here with you just a little longer

4-24:0b: "moment"

Made in response to:

some starlight
spared from being scooped up
four-handed net

Naviar haiku challenge 620, details here: https://www.naviarrecords.com/haiku-music-challenge

Two elements, the background drone and a self generation series of sparce pings were made with Voltage Modular. the pongs were then routed to external reverb and delay effects. Parameters and the overall mix were manipulated and recorded in a single live take along with an additional layer of Omiharp from Puremagnetik. 

Starlight - (naviarhaiku - 620)

Diese Traurigkeit ist nun Alltag III (15-03-2020)

a great honor for me  http://www.youtube.com/watch?v=VRfaP4ROcQs

no professional aspirations, just entertainment
home recordings just for the joy of music
Everything is based on feelings and moods. No use of AI.
thank you for listening
Thank you all for your comments, because there is always room for improvement
I am still looking, trying and experimenting, I really like electronic ambient for many years, but it only works as a live percussionist. In short, nothing is black or white:)
In today's hectic world I need quiet sounds and the vast majority of songs created at night, so are my compositions such as they are.

My tracks is based on the absolute freedom of the use of sound. Arises as if I painted a picture. In the head is the base, and then adding the details here and there.
As well as if I were his music told the story.

I use: Ableton-Live-Suite with Partnerinstrumets, Kontakt Player + virtual instrumentzs,NI-Machine, Ableton Push, Acces Virus TI Snow, Waldorf Blofeld, AKAI MPK 49, Korg Microkorg XL+,KORG Kaossilator,Kaosspad,KORG Wavedrum, Roland HPD 20, nord lead A1 r, Yamaha mx49, Roland Edirol for Fieldrecordings - and various live percussion.(Kalimba, frame drum, tombak, koshi etc)

Naviar is a music community and label. Through regular publications, open projects and events, we explore the connection between experimental music and traditional Japanese poetry.

To join the Haiku challenge, visit https://www.naviarrecords.com/about/naviar-haiku

Deep In The Mountains ( Naviarhaiku 537 )

Night Note

Related tracks