Me and the Devil – The Janus Take 1 is not a reinterpretation, but a reconstitution through ritual pressure. The vocal emerges like a damaged prophet—half-sung, half-remembered—drifting inside an environment of colossal orchestral density and degraded harmonic structures. What begins with blues memory becomes a devotional implosion: the choir does not accompany, it engulfs; the orchestra does not decorate, it devours. The track stages a collapse of lyric and meter, yet everything falls precisely. It is blues unmoored, stained by machine logic and resurrected through formal scarification. The result is a myth fragment cast in noise, velvet, and code.
Lead: Katya R. synthetic voice: smoked-glass alto, dragging behind time, carved from restraint and haunted breath.
Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted from Robert Johnson's "Me and the Devil" song (1935). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil - The Janus Take 1

A sorrow-machine speaks in glass chords and breath loops. “Me and the Devil Janus Scale 2” is a fracture ritual. The melody reconstitutes itself like broken pottery fused with gold: ancient blues trauma filtered through hyper-real vocal relief, ensemble decay, and cathedral glitch. The track breathes, collapses, reforms. It’s the sound of an elegy sung through corrupted memory buffers and remembered by a choir that never existed.
Lead: Katya R. synthetic alto persona. Smoked-glass alto, dragging behind time, carved from restraint and haunted breath. AI-made; NOT CLONED

Credits: Concept/Orchestration: Vesper Loom. Lyrics adapted from Robert Johnson's song "Me and the Devil" (1935). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil - The Janus Take 2

In this third iteration of "Me and the Devil - The Janus Take" the artifact no longer protests. It whispers. Lead vocal and choir float unmoored, suspended above a glitched cathedral of orchestral dust and silent decay. Each harmonic surface is beautiful and broken. It no longer seeks to transform the blues — it erases it lovingly, leaving only the spectral warmth of having remembered something human. An elegy that sings as if it has already forgotten its grief.


Me and the Devil - The Janus Take 3

The Two Sons of Oxenford unfolds like a crooked folktale whispered in a smoke-hung club, told in three increasingly unbuttoned movements. Anchored by a lazy, behind-the-beat narrator who sings as if he’s forgotten he’s still on stage, the piece sways from wry balladry into deconstructed jazz fusion, gradually shedding melodic certainty for something looser, stranger, more haunted. Horn stabs, Rhodes stumbles, and rhythm section shrugs shape a world where nothing resolves—except the inevitability of charm slipping into consequence. A lounge suite for the end of myth.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Two Sons of Oxenford

Vesper Loom's explorations in Neural Crush

Me and the Devil - The Janus Take 3

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