This piece was inspired by my wife: She suggested that I set to music the beautiful poem by Dylan Thomas, read by the poet himself.
The recording is available in the public domain at https://archive.org/details/DoNotGoGentleIntoThatGoodNight.

I felt that I could never do justice to this masterpiece by trying to compose music to accompany it. Therefore I resorted to improvisation. So I let my fingers express my feelings while listening to the recording and improvised the different instruments.

Do Not Go Gentle into That Good Night

Running in the city

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

Old roll of film

instruments: Jeff Gardiner and jo richter
voice: Jeff Gardiner
modulation, arrangement and all that: jo richter
lyrics: Jeff Gardiner in collaboration with jo richter
image (showing this very poem on sheets of paper, in voynich minds): Jeff Gardiner in collaboration with jo richter

while I was snoozing in the scalar field
i dreamed about a maple staff
with inlaid gold and bone and sacred glyphs
it began to sing in delightlful shades of blue

like sky and water and turtle shells
and peels of strings of bells, wrapped around the waists
of woman dancing veiled in skanes of silk, all red and black
and oranges from the amazon
that orange meat, so juicy sweet!

a blade already broken, a token of persuasion
lving in the last creation
the actor trying out for all the parts
better some than others
clarity is something seldom found
just like reason, overrated
turn that little voice off in your head, he said -

redeem it when you find it if you're able. then forget it
then forget it for the favor of a lover
while the mother of redemption stands at attention
did I mention the monster, he's an alien
with eyes like fire, a liar and a loner

a believer a retriever with a pagan predilection
basking and engulfed in the sunlight and the scented artificial flowers
of he valley in the meadow where she's waiting
with the golden sunlight and mountain flowers in her auburn hair
writing letters to her lovers in the air;;-

scalar fields pt 7 astral yeast

scalar fields pt 7:  astral yeast - with stonerjazz

LISTEN!

Layering two samples of vocal "hums" and "aahs", plus a sinewave synth and percussion. It turned out more choir-like and dramatic than expected, 

More on the 708th weekly Disquiet Junto project, Vocal Chords — The Assignment: Do something with layers of the sound of your voice. — at https://disquiet.com/0708/

Vocal chords [disquiet0708]

[disquiet0708] ohhahh

47 - Vultures

Lead voice patch notes:
I dialed in a 16 step sequence on my NLC Bindubba, made it a 32 step sequence working the direction inputs with clocked gates. The sequence is fed through Beers ADC into Beers Melakarta making it a sudo pitch quantizer. Pitch-CV is sent to Befaco Even VCO. Even VCO feeds into a modulated Erica Synths BBD Delay/Flanger and then into Erica Synths Polivoks filter. Melakarta's gate outs are fed through Beers Edge Detector, into Sin Phi Miasma (envelope generator) to open the Polivoks filter, at the same time the other Miasma channel is feeding a ducking envelope closing the filter with every kick drum hit. A copy of this voice is fed into XAOC Sarajewo BBD delay. Aside from this last module, all other modules used are self-built DIY versions.

Console

Music for bananas - I do not wait for anyone

RabMusicLab produces instrumental music of various genres from classical to electronic without shying away from excursions into pop or experimental music. The tracks are published for the pleasure, entertainment and inspiration of every listener.

RabMusicLab loves to participate in the Disquiet Junto Projects of https://soundcloud.com/disquiet to fuel his creativity . All tracks that have "disquiet" in the title were created as response to these projects. Further informations can be found in the respective track-information,

All images used are photographs by RabMusicLab, unless otherwise indicated in the track-informations.