a track by Marco Lucchi reworked by Wilfried Hanrath

maggio 2021

Marco Lucchi & Wilfried Hanrath - Die ewige Wiederkunft des Gleichen im Gleichen

DOOWINIT (music: Mark Paton / words: Justin Paton)
Recorded on 4-track tape, London 1997
* Justin Paton: voice, guitar, keyboard & percussion
* Mark Paton: keyboard & percussion

an introduction to The Fear Of Muzak

Doowinit (1997)

MMXXIVIXVIIDPND

Montage et photographies : 
© 2024, Chartrand Saint-Louis
Lien vers la vidéo : https://youtu.be/61_zvwNCdQc 

Musique :
© 2024, pièce de violoncelle, titre : "Le flot du temps", par Albert, 2:09 min.

Mixage, révision et sonorisation par Albert

Le flot du temps

"Le flot du temps", par Albert; Mixage, révision et sonorisation par Albert [lien vidéo]

Memories

This is the eighth in a series of Module Music pieces. It uses fm-synthesis. It is based on a spectrum and sub-spectrum between A4 and F#5. The music is generative and uses both  markov chains and random ranges. The source-code can be found at github.com/danielstahl/module-music-8.

Electric veins

I composed this song with my boyfriend's brother Carlos Bergmann! but in reality we didn't compose with much equipment! We only use a 16 channel console, also a synthesizer, electronic drums and finally an electric guitar! The list of instruments are as follows! synth melodic Yamaha dx7 ! Fender Stratocaster electric guitar Alesis HR-16 electronic percussion! just this and nothing more! In fact we recorded everything outside of my boyfriend's studio! It was a great experience. I dedicated myself to playing the electric guitar, which almost sounds like an electric bass. In fact, I don't understand anything about guitars, but well, ultimately this came out and it was a great experience sharing compositions with my boyfriend's brother!

Božena Jurkovic  & NN & Johann Friedhof Bs.as  -Alegorija  Session 1

Osc Project - Move

sound court

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

Marco Lucchi & Henrik Meierkord - La Bestia Umana

Date de publication: 30/04/2024

Musique, arrangements, claviers, mixage, mastering:
Damien MAUREL & Cyril MENDEZ 

Synthétiseurs utilisés en + des VST:
Roland JUPITER XM
Korg VOLCA FM

© Damien MAUREL & Cyril MENDEZ 2024, All Rights Reserved.

Dementia (Collaboration avec Visions of Dystopia)

collaborations, shared projects, ideas ..

http://marcolucchi.bandcamp.com/

https://musichevirtuali.blogspot.com/

www.musichevirtuali.org

https://twitter.com/musichevirtuali

https://www.facebook.com/pages/orchestra-eclettica-e-sincretista/111790807863?fref=ts

Marco Lucchi & Wilfried Hanrath - Die ewige Wiederkunft des Gleichen im Gleichen

Orchestra Eclettica Sincretista

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