Woahh, bravo! This is beyond amazing. Thank you ❤️

emotional

this is the title track of the current album Junischnee. A most special piece to me personally and I really hope you enjoy it !

thanks for supporting, playlist and sharing my music on spotify...(: 

http://open.spotify.com/album/2Dd1RIVqr3MD28yhQwO6vx

please support and like me on: www.facebook.com/Dirk.Maassen.Music

Cover Foto: www.flickr.com/photos/veggiefrog/

Dirk Maassen - Junischnee (out on spotify, iTunes, amazon -  thanks for supporting and sharing)

It's March already, I know :) But it was recorded on the last day of February, inspired by Ivan Ujevic's Elegy (https://soundcloud.com/milanazilnik/elegy-no3-by-ivan-ujevic-piano-by-milana) that I played earlier this year. 

I would also love to invite you to this kind of "challenge" :) 
http://www.facebook.com/events/229738850563261/

February Elegy

February Elegy - Milana - on iTunes!

Ten directions is a Eastern cosmogony’s term that means "in all directions throughout the space." These directions are the eight of the compass: east, south-east, south, southwest, west, north-west, north, north-east, plus the Nadir – to the down - and Zenit - at the top.  These "Ten directions" are often matched to past, present and future to describe the set of all places – Ten Directions - and times - Three Times.
 At any time and in any place existed a sound that awakens and resonates at a specific emotional state. A call that is heard and collected by those who were looking for it for a long time and in any direction.
 
While playing or composing, I take refuge into myself, directing the sound through the ten directions of space. Then, I let my thoughts meander both in the internal direction, the innerself, and in the outer, the discovery and the meeting. The union of these two states arouses emotion, subtle matter that can be felt by those who are listening and are on the same frequency and in tune.

 The launch of the thought starts from the silence, and then, one key after another, starts moving and traveling through the air like an arrow into space. The sound is without obstacles, in the ten directions, and resonates through the invisible world of vibrations. Announces itself and enters the inner space. It comes to ears, the hearing organ, and shakes all the other senses. It kidnaps, touch the nerve centre and pervades us. It meets and joins up with something that is already there, and is welcomed as it was expected all along.

 The sound is clear, it radiates and spreads everywhere, and comes back, in a two-way process, creating contact points and unexplained bridges. Is a dimension that affects and charms because we recognize it, surprised and excited at the same time. As a light, it illuminates hidden areas through the mind and the heart, and reaches the deepest part of our inner. The listener and the player finds themselves alive in a sensitive state, and this sharing creates the communion, the union of sound and spirit, music and noise away from fiction, which dwells always and everywhere in the ten directions.

Ten Direction

Wild Sea

After All

one clear day

1051 — Piano

felt nostalgic and flipped a Hey Arnold sample.  it's the episode where he loses his pet pig Abner 

original song is "Groove Remote" by Jim Lang 

New Album "Pleasure Palette" is now out. A collection of instrumentals for you to warm up to. As always, these beats came straight from the heart. You can either get it for free, make a donation, or none of the above if ya don't feel like it! Just felt like sharing this music with you. Thanks again for all of your support.

flamingosis1.bandcamp.com/album/pleasure-palette

Download

Football Head

My second album "Different Ways" is now on Spotify!

open.spotify.com/intl-tr/album/1K…lYRoqlF_cNKKdZcQ

Different Ways

This one's for all you late-night memers out there

HOME - Resonance Vs. MACINTOSH PLUS - リサフランク420 / 現代のコンピュー, who win

Archipelago

Tierra Azul

For many years, whenever I play the piano and compose, before even touching the keys to play, I stay still. I begin from silence. I enter into a precise, recognized state and from this silence, the sound appears. It is an essential and directed sound that surpasses obstacles and divisions. It is not a mental or intellectual process but rather it is music that flows from emotion through melody and harmony, which, throughout time, have been the primordial elements of the power of sound.

“Quarto Tempo” is the space beyond the confines of the three time periods: past, present and future where the before, the now and the then, meet and cancel each other out. This inexplorable space is the setting where I find an attitude open to listening of the music and the sentiments that spring from it. This desire to go beyond these limits is a constant that is central to my work.

The historical view that at one time placed the musical time periods distant from one another has now changed from temporal, prospective and spatial; this modifies the relationship with consequentiality. One is not influenced only from what comes immediately beforehand but rather is impacted in the same way by a sound from five hundred years ago as by a sound from five years ago. 
The running of the tape or the turning of the needle on the vinyl of the LP, symbols of the running of time, is replaced by Hard disk where memory, rather than this running, exists. Here, the spanning of time becomes space.

Personally, I am interested in Music within mythology. This very music that through the powers of sound, charmed dolphins and made trees dance in the myth of Orpheus, sound that through its objective power, made the walls of Gerico come tumbling down. 
I believe that music, the universal language, should speak to everyone and needs not extensive explanation, at least in a deeper sense, but rather should be allowed to resonate within us so that we can hear what it evokes. 
The relationship I have with music has for many years, been tightly interwoven with my own search for personal evolution. It is an education that approaches, in essence a mirror. Through music I find myself in a vast and limitless flow. I have the opportunity to transmit my aspirations, to communicate what I feel and what I believe.

Floating- Quarto tempo

Brian Crain - Imagining

Purchase Here: https://wonderwheelrecordings.bandcamp.com/album/jallalla

In 2017, Lagartijeando (Mati Zundel), released his second full length album ‘El Gran Poder,’ via Wonderwheel and subsequently hypnotized the masses with the way he laced the traditional Charango playing that he picked up traveling the Andes with the pulsing, digital-cumbia electronica that’d been popularized in the region by the likes of Chancha Via Circuito, Nicola Cruz, and beyond. El Gran Poder plucked Zundel from his small town of Dolores in Argentina and catapulted his sound onto a global stage. He was revered by the likes of The Fader and Bandcamp, who referred to him as an electro-folk alchemist - and that he is. 

On June 7, Lagartijeando casts a new spell with Jallalla, an ambitious new full length being released on Wonderwheel Recordings. Jallalla is a word used in Bolivia to celebrate something- and it’s a word that strengthens in meaning when more people say it together. Jallalla is an entire life in an album - beginning with what would be the sonic representation of pulling back reeds to discover a new path with the song Villazon-Potosi and its sparse electronic percussion gradually filled in with curiosity-giving winds. Following is joyful charango riff that becomes the base for the track La Frontera, which features the sweet, wispy voice of Minük, the Colombian artist Alejandra Ortiz, known as half of the duo Lulacruza. As the album progresses, it becomes more experimental with electronic elements, sneaking in bits of deep house and dub. The fourth track is called Caña, and is a collaboration with none other than Chancha Via Circuito. It’s minimal and haunting, playing with repetitive bass, chimes, and what sounds like owl sounds. Zundel’s beloved charango sneaks back in via the next track, Adios Potosi, continuing the trek with a sweet melodic mid-album break. On the track A Todo Pai, one that celebrates Latin American identity (a todo pai, un solo maiz, repeats the song), Zundel collaborates with Javier Arce - lead singer of the Costa Rican indie-funk band Cocofunka, whose peculiar and infectious voice adds new layers onto the album. The last few songs are a mix of meditative electronic tracks and life-giving dance-floor ready numbers, all lending to Jallalla being a celebration of life and the various adventures it contains. 

Jallalla is out on June 7 via Wonderwheel Recordings.

Jallalla

Lagartijeando - Adios Potosi

I put a lot of work behind this one, strings can be a pain and my MBP was fuming with the samples at times.

Hope you enjoy this one, I´m pretty proud of the result.

Freedom

Recorded the beautiful piano soundtrack "One Summer's Day" from the 2001 Japanese animated fantasy film "Spirited Away," composed by Joe Hisashi.  This piano cover is similar to Hisashi's own solo performance at his live concert, though there are some subtle differences in my interpretation of the work.  Anyway, hope you enjoy it! :) 

One Summer's Day (Joe Hisaishi; Spirited Away OST) piano cover by Russell

For many years, whenever I play the piano and compose, before even touching the keys to play, I stay still.  I begin from silence.  I enter into a precise, recognized state and from this silence, the sound appears.  It is an essential and directed sound that surpasses obstacles and divisions.  It is not a mental or intellectual process but rather it is music that flows from emotion through melody and harmony, which, throughout time, have been the primordial elements of the power of sound.

“Quarto Tempo” is the space beyond the confines of the three time periods: past, present and future where the before, the now and the then, meet and cancel each other out.  This inexplorable space is the setting where I find an attitude open to listening of the music and the sentiments that spring from it.  This desire to go beyond these limits is a constant that is central to my work. 

The historical view that at one time placed the musical time periods distant from one another has now changed from temporal, prospective and spatial; this modifies the relationship with consequentiality.  One is not influenced only from what comes immediately beforehand but rather is impacted in the same way by a sound from five hundred years ago as by a sound from five years ago.
The running of the tape or the turning of the needle on the vinyl of the LP, symbols of the running of time, is replaced by Hard disk where memory, rather than this running, exists.  Here, the spanning of time becomes space.   

Personally, I am interested in Music within mythology.  This very music that through the powers of sound, charmed dolphins and made trees dance in the myth of Orpheus, sound that through its objective power, made the walls of Gerico come tumbling down. 
I believe that music, the universal language, should speak to everyone and needs not extensive explanation, at least in a deeper sense, but rather should be allowed to resonate within us so that we can hear what it evokes.   
The relationship I have with music has for many years, been tightly interwoven with my own search for personal evolution.  It is an education that approaches, in essence a mirror.  Through music I find myself in a vast and limitless flow.  I have the opportunity to transmit my aspirations, to communicate what I feel and what I believe.

Atlantico - Quarto tempo

Roberto Cacciapaglia  protagonist of the most innovative Italian music scene, in Italy and abroad, for his musical research ranging between classicism and electronic experimentation. For many years he has been researching the powers of sound, in the direction of a music without borders, beyond any division. His music draws inspiration from these experiences and expresses itself through emotions rather than through rules and structures. 

Roberto Cacciapaglia has huge successes with his live performances in Italy and abroad. A testimony is his tour in Russia in 2013, with concerts in Moscow and San Petersburg which received an extraordinary reception by the Russian public. Other concerts followed in Barcelona, Bratislava and Istanbul, where he taught several seminars and workshops at the Turkish Music State Conservatory. The longstanding artistic partnership undertaken with the Royal Philharmonic Orchestra, gave life to hree CDs: “QUARTO TEMPO” (Universal Music-2007); “CANONE DEGLI SPAZI” (Universal Music-2009) and “TEN DIRECTIONS” (2010).


Floating- Quarto tempo

robertocacciapaglia

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