Stunningly cinematic sonics. Very deep track!

Pantoclast - Monolite (Psychotic Remix + Lyrics By R.S.Stropharia) 24.02.2022

This track is part of the Juan Antonio Nieto Tribute 'A Sonorous Spirit', released on Tree Trunk: https://archive.org/details/ASonorousSpiritATributeToJuanAntonioNieto

Hidden But Still There (Lament For Juan Antonio)

LOST

A lost Child

A collaboration with a new music friend Didier de la Rose. Didier sent me some stems from one of his tracks and here is the result!
The track was mixed in AUM apps such as Eventide Crystal, Bleass Delay, Kosmonaut, Bleass Chorus, Rymdigarre, Eventide Blackhole and Barricade.

You can find Didier's excellent work at:

Journey Through The Event Horizon (with Didier de la Rose )

Composed, arranged, performed, and produced by
Carlos Vivanco

Harmonic Vertigo

Gravity

edited 3 times

I visited HIROSHIMA last week.
Hiroshima is one of the leading oyster-producing areas in Japan.

The World Is Your Oyster

Piano : juillet 2021
Claviers : décembre 2022
Photo : 30 juin 2017

Piano Style Libre (Free Style) No 3

Invention in G major by Roger Tastet 12/2022

Written with Notion 6, realized with Logic Pro and Elite strings from V.S.L

Invention en Sol Majeur (Invention in G major)

Emma Gatrill has shared her new single ‘Seed’, a poignant and uplifting moment from her upcoming album featuring  stellar contributions from Rozi Plain and Kate Stables (This Is The Kit), Rachael Dadd and more. The Brighton-based harpist, songwriter and multi-instrumentalist’s new album ‘Come Swim’ arrives 24th November 2023 via Willkommen Records. 
   
A manifesto for kindness, ‘Seed’ speaks to the challenging times we find ourselves in, suggesting ways we can all make a difference by sticking to our principles and striving to be the best possible versions of ourselves - “Help a stranger out like a friend in need…Don’t be frightened to stand up for what you believe”.

Aided by co-producer and partner Marcus Hamblett, though new album ‘Come Swim’ was produced and recorded at home (or Bear Mountain Studios, as the credits have it), Gatrill was able to call on a truly impressive cast of collaborators for the album. Along with Stables, Plain and Dadd, other guests include Conor O’Brien (Villagers), Mark Lockheart (Polar Bear, Radiohead’s Kid A), Rachel Horwood (Trash Kit, Bas Jan), and Thom Mills (Skinny Lister). 

Since 2017’s acclaimed Cocoon, Gatrill has steadily earned her place as one of UK music’s best-kept secrets. From singing on Nick Cave & Warren Ellis’ film soundtrack ‘Wind River’, to playing a remarkable range of instruments for others (including Lucy Rose, Broken Social Scene, Samantha Crain, David Thomas Broughton and more), Emma has distilled this wealth of experience into creating a captivating sound entirely of her own; a logical progression that culminates in the fervent beauty and wonder of ‘Come Swim’. 

Emma Gatrill on ‘Seed’:
“‘Seed’ attempts to represent how tough life can be. We may sow a thousand seeds but only one may survive and grow, but that one can be everything. That one idea can blossom if we nurture it. That one kind gesture from a stranger can change how the whole day goes. Stay strong, stand up for what you believe and don’t feel afraid to ask if you need help. That’s how we all learn. It was an honour to have Kate, Rozi and Rachael all add vocals to this tune. I’ve enjoyed playing music with all three of them so much over the years and learnt a lot musically from them. I really wanted this song to have a feeling of camaraderie and a sense of togetherness.  Kate's wild recorder and ocarina also sonically embody one aspect of the song's meaning for me - the continual cacophony of life perhaps! To find answers we have to ask questions. To find kindness we have to be kind. To grow we have to learn. Seed is about trying to be the best possible version of us in a world which is tough.”

Kate Stables (This Is The Kit) on ‘Seed’:
“Emma Gatrill is one of the most talented people I know. We've played together a lot in various projects and so I was very happy and honoured to be asked to contribute to this track. I especially loved having the freedom to add whatever I felt like and anyone who knows me beyond my own band knows I love adding ocarinas and recorders - which is what I did and which Emma generously left in! This track is filled with so many people that I love. Plus, I just can't get enough of "out of the dark into the light, into the light of the morning". A message we all need to remind ourselves of on a daily basis. Good one, Gatrill!”

Rachael Dadd on ‘Seed’:
“This song is like a glorious seed sprouting towards golden sunlight. I’m so happy to hear Emma bringing her third album into the world in all its harmonious joy and honoured to sing here, and massively grateful to Emma for all she’s brought to my music over the last 12 years”

Emma Gatrill - harp, clarinet, bass clarinet, mellotron

Kate Stables - backing vocals, ocarina, recorder
Rachael Dadd - backing vocals
Rozi Plain - backing vocals

Marcus Hamblett - cornet, synths
Andrew Stuart Buttle - violin
Dan Harding - drums

Seed

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 - In A Gadda Da Vida

After (naviarhaiku111 -After the Dancing)

I started creating music on my old PC back in 2002 using DAWs such as Buzz, Fl Studio and Reason. As my artist name suggest I mostly compose tunes that have an ambient edge. My main passion is creating soundscapes, be they soft drifting drones/piano pieces/heavily synth driven, weirdly abstract and classical and orchestral pieces. I mainly compose using apps on my IPad but also make use of whatever instruments I have lying around such as my Pocket Operators, Modal Craftsynth, my favourite is an Early Learning Centre keyboard.

In the past my tracks have been played in BBC Radio Oxford and BBC 6 Music. Over the years I have collaborated with people from all over the world. Please message me if you would like to collaborate 😀

Journey Through The Event Horizon (with Didier de la Rose )

TheOxfordAmbientCollective

Recent comments

encym

AetherWave

Related tracks