music . EnigmaCurry @enigmacurry
instrumental : https://soundcloud.com/enigmacurry/orison
vocals, their production, hint of additional djembe, artwork . Mariam Zohra D : Myrh

hummin snowflake | myrcury

<>>>>>>
the empty shells surrounding the deep love
END EMPIRE

taRka: a process, a place
a collaborative project
by Myrh : Mariam Zohra D
poetry/song/visual arts
@myrhyum @myrhyummy @tariqa-kali
> https://tarka1.bandcamp.com/
> https://mariam-zohra-d.my.canva.site/portfolio#home

great appreciation to a
network of enchanted,
conscious music,
enabling me to weave
a poetry of resilience.
journeying to mystic places,
reflection, projected in waves of rhythm.
feeling home in melodies
made of new and old.
paintings to spark the soul.

This space is proudly shared with
VIA DE ACCESO
@viadeacceso
& NEUROLOGICK THUNDER RKDZ. 
@user-685450274

We like found sounds: acoustic instruments, field recordings, natural history, sound experiments, cycling, videomaking ... and collaborations.

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
------------------------------------------
I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

ZARINE (Dj Zarine) is one of the drum & bass DJs and producers whose work has brought considerable popularity to this style.
Starting his career in 97, he started promoting the Jump Up style in Russia. This always positive and open person still carries the culture of broken rhythms to the masses.

He received a classical music education. He studied conducting. He also plays guitar (played death metal, hardcore, techno death, was a session guitarist.) Sound engineer, worked with many well-known musicians, both foreign (Henry Rollins Band, Young Gods, Braut schlägt im Auge), and Russian, such as: the King and the Jester, Bricks, Torba-na-Kruche, Nom, TV, Calibri, Two Planes, Brigade row, Spitfire, and others.

His creative pseudonym, the female name ZARINE, owes his love for decadence, and the eponymous name of one of his projects-ZARINE (sarin) with the crossed-out letter " E " at the end. In 1996, after playing his first ever set at the CLEO club, he decided to keep the name.

The first single, "DnB Wize", was recorded in 1999 and released as a compilation album on a no-longer-existing foreign label. This was followed by releases - "Drunk n Bass" and "Art Core", "Eazy Drums" - released on the now-defunct KDK records 

Later there were releases on "Dj Parade", "World of the Drum n bass" - Dj SS took the single "GO ON" recorded together with Liza K. Audio design of the magazine "SPB. RU". Release of the album "Leading the rats". Working with Goldie, Aphrodite.

To date, singles have been released on Italian, French, German, and English labels.

EP "Blind fury / Water party", "Ghost of the Rock n roll", "Atmos robotics", " May Be Vibes? (feat. PropheC)". Remixes of DnB monsters, Future Cut, Konflict, Posij, Ray Keith, Huge, Gridlock, Keaton, as well as Fugees, Eminem

Today, ZARINE is the owner of the "HS Recordings" label. He is a resident of the English radio resource MIXCLOUD, and enjoys the support of the Russian radio Record.

Marzena Majcher / vocal, interactive exformer, synthesizers
Andrzej Wojciechowski / live electronics, sampler
Irwin Wojciechowski / bass guitar

Jahn Neu, born 22 November 1978, is an trumpet player and composer.

All tracks here are Creative Commons, available for download and/or reposting.