I like how the haiku gave you water, but gave me fire. 

A deep mystery and mystics to this movement...somber.... Well done Milan!!!

like how the melody works with the accompaniment!

@user-812536319: Thank you very much . Haiku challenge is almost like a ritual :-). I am waiting for a new topic on Wednesday and I'm curious. Thank you very much . Nice Sunday, hi, Milan

Beautiful piece Milan! I love the muted trumpet...it gives a mildly film noir feel.

All submissions to Haiku 283:

http://www.naviarrecords.com/2019/06/05/naviarhaiku283-the-clear-day-in-the-rainy-season/

To participate:

- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)

- Publish your song on Soundcloud and message me privately with the track's URL (if you don't have Soundcloud or can't message me, visit www.naviarrecords.com/about/naviar-haiku for more options)

- Include the assignment number in the title of your track, for example “Title of your track (naviarhaiku145)”

Your track may be included in Naviar's weekly podcasts and free (pay-what-you-want)compilations. Please set the track as downloadable on Soundcloud and allow others to remix/reuse it by using a Creative Commons License.

The clear day in the rainy season/The madder red of the twilight appeared/And vanished instantly

Someone promised to wait.
To wait beyond.
Beyond the hourglasses and the mounds of swollen flesh.
Beyond the cuneiform codices, the spiral labyrinths, the bone flutes of extinct birds.
Past the pyramids of time and the colossal granite dolmens slumbering beneath Antarctic glaciers.
But no one came back.

The song is the lament of those who still hope to say goodbye.
To say goodbye fiercely—with their eyes, with their hands, with everything that exists beyond the body.
To part with such violence that reality thins, and the blazing ground of grass takes on the texture of dragonfly wings.
The voice of the one still waiting calls out, demands, roars through the wound that a heavy slab carved with the word “LOVE” can barely cauterize.
The slab of a forgotten grave, in a windswept cemetery on the Atlantic coast.
At the edge of a cliff where—warmed by magma beating to the phases of the moon—earth, ocean, and sky fuse together: into amber, into lead, into cobalt.

When those who wait begin to sing, their voices pierce the unyielding concrete of nuclear reactors, the crust of the earth, the frozen core of the gas giants in the solar system.
Their voices rattle dead loudspeakers, tear through the white noise of radios lost in the ether, whisper in the echoes of abandoned cathedrals, and sigh in crackling exhaustion through the worn-out waiting rooms of hospitals.

You can’t stop their voices from rearing up inside your eardrum, nesting forever in the synapses of your auditory nerve—so you can carry them far.
Perhaps all the way to the one who never received the goodbye.

Pictures: Lht
----
Alguien prometió esperar. Esperar más allà. Más allá de los relojes de arena y de los montículos de carne tumefacta. Más allá de los códices cuneiformes, de los laberintos en espiral, de las flautas de hueso de pájaros extintos. Allende las pirámides del tiempo y los colosales dólmenes de granito que dormitan bajo glaciares antárticos. Pero nadie volvió.

La canción es el lamento de los que esperan poder despedirse. Despedirse intensamente. Con los ojos, con las manos, con todo lo que hay más allá del cuerpo, despedirse con tal violencia que la realidad se adelgace y el suelo fulgurante de hierba adquiera consistencia de alas de libélula. La voz de quien aún espera reclama, inquiere, brama a través de la herida que una pesada losa con la palabra "AMOR" apenas logra cauterizar. La losa de una tumba olvidada, en un remoto cementerio azotado por el viento del Atlántico. Al borde de un acantilado donde, calentados por un magma que late siguiendo las fases de la luna, tierra, océano y cielo se fusionan; en ámbar, en plomo, en cobalto.

Cuando cantan los que esperan, sus voces atraviesan el hormigón implacable de los reactores nucleares, la corteza de la tierra, el núcleo congelado de los gigantes gaseosos del sistema solar. Sus voces sacuden altavoces desconectados, rasgan el ruido blanco de las radios perdidas en el éter, susurran en las reverberaciones de catedrales abandonadas, y suspiran crepitantes en las extenuadas salas de espera de los hospitales.

No puedes evitar que sus voces se te enjirafen al tímpano y aniden eternamente en las sinapsis de tu nervio auditivo, para que las lleves bien lejos. Tal vez hasta quien no pudo recibir el adiós.

Llévame lejos

a track by Marco Lucchi reworked by Mean Flow

Mean Flow & Marco Lucchi - E.F.S. n1

method: all the sounds you hear, apart from the voice, stem from a piano that is more than moderately out of tune, most of them morphed by audacity and samplitude
image: copyright jo richter

wunderbar geborgen / copyright jo richter

am wunderstumpfen ende
einer zweispur-einbahnstraße
senkt sich eines planers wendeplatte
zwischen steile bordsteingrate
in deren runden schenkels wölbung
die allerletzte eiderente ein
einzelei ausbrütet - solch memento
prospektiver nostalgie lädt
karrussellgenau zum grübelkreisen
ein, zum rasend innehalten

wunderbar geborgen

if you know, you know.

saving misasa's soul 00:00
highleadon 06:28

saving misasa's soul/highleadon

Se as moscas estão a chatear-te faz jazz 23-8-2025

Cosmic Swing

Ken (K2 and the Three) asked if I could remix this Eclectic Collective song from last year. I tried to bring out the individual performances more and added the rather lovely J.J. keyboards ambient intro. Hope you enjoy 😎

Happy Ever After - Llanpsych mix

An atonal, twelve-tone composition, taking some inspiration from the Webern approach to atonal music and just making it very compact. To me that approach legitimately does make the atonal "sound" easier to digest. Bite-sized pieces. Hope you enjoy!

Verde

24 6 8

Illusive Star (2025)

ab chaos

This track was created for the Naviar Haiku group.
283 week haiku
naviarlab.tumblr.com/

background various VST - muted trumpet - Yamaha mx49 :-)

2019-06-06

The clear day in the rainy season(Naviarhaiku 283)

The clear day in the rainy season.
The madder red of the twilight appeared
And vanished instantly.

haiku by Takahama Kyoshi  https://www.masterpiece-of-japanese-culture.com/literatures-and-poems/haiku/takahama-kyoshis-haiku-poems
picture by Kevin Hou https://unsplash.com/@kevinhou

For more information visit http://www.naviarrecords.com/about/naviar-haiku

vanished

halF cleaR [naviarhaiku283]

Submitted to Naviar Haiku 283.

 naviarhaiku283 – The clear day in the rainy season

The clear day in the rainy season.
The madder red of the twilight appeared
And vanished instantly.

Poem by Takahama Kyoshi 

Kyoshi was the editor of the haiku magazine Hototogisu, which promoted a more traditional style of haiku compared to other contemporary schools which were not following the pattern of seventeen syllables at that time. Kyoshi also highlighted the symbolic function of the kigo (the season word), even though the more modern trends were already tending towards season-less haiku. He was active during the Shōwa period of Japan.

Seven days to make music in response to the assigned haiku: to participate visit http://www.naviarrecords.com/about/naviar-haiku

haiku by Takahama Kyoshi  https://www.masterpiece-of-japanese-culture.com/literatures-and-poems/haiku/takahama-kyoshis-haiku-poems
picture by Kevin Hou https://unsplash.com/@kevinhou

The madder red of the twilight

The Madder Red Of The Twilight - naviarhaiku283

Quasi-generative sine waves and lap steel loops slowly unfold material from the rainy season raga Megh. A slow 17 beat rhythmic cycle played on a bell gradually gets swamped by non-pulsed layers.

naviarhaiku283: the clear day in the rainy season

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

The clear day in the rainy season(Naviarhaiku 283)

Night Note

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