c'è in giro da tempo una specie di 'nuova musica assoluta', astratta, che sta fra la cosiddetta 'ambient music' e la 'drone music', nei pressi dei cosiddetti 'soundscape' o, meglio ancora, degli 'innerscape' .. a volte ha tratti più 'cameristici', o addirittura per strumento solista, a volte è più 'sinfonica' .. a volte usa solo sonorità 'sintetiche', a volte invece anche strumenti 'tradizionali' .. ha antecedenti illustri, sia nella cosiddetta musica 'classica', diciamo storica, sia nella 'popular music' e nel jazz .. a quella soprattutto io guardo

www.facebook.com/notes/marco-lucc…155811583217624/

"musica assoluta" (febbraio 2019)

Saturn Days is a song about failed relationships and how it is not even bad in the end. Sometimes, we just want to absorb the pain of parting. We tend to enjoy seeing the world's end coming upon us when we break up, like there is no other option. But it just needs a new spark from a different direction for everything to change.

https://fanlink.to/saturndays

This year, piano and coffee turns five, and to celebrate, we are releasing our first compilation: Realismo Mágico — a conceptual project featuring unconventional works by new and old friends we have made along the way. 

Inspired by magical realism, an artistic genre in which realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy, this special release presents unheard material by twelve exceptional musicians — from experimental sound artist Martyna Basta to award-winning film composer Alexandra Hamilton-Ayres, and from poly-instrumental duo Brueder Selke to prolific pianist and producer John Hayes. 

Each artist has contributed with a new track that invites the listeners to submerge into their very own musical universes, which, at the same time, have been re-shaped by their interpretation of magical realism. We start off on our journey with the delicate nostalgia of Tim Linghaus, passing through Jakob Lindhagen and Vargkvint’s modern take on the story of a Norse mythological creature, followed by the harmonic ambiguity in Simeon Walker’s pleasingly strong dialogue between felted piano and drums. Later on, John Hayes shares with us a chaotic composition born out of samples from an old clock in his parents’ garage and saturated voices, which precedes Lucy Claire’s processed hydrophone recordings of seaweeds and starfishes in Australian waters. Ondes Martenot, pump organ, zither, analogue synthesizers, vocal processing, musical saw, and bowed gongs are some of the unusual elements to be found on this eclectic yet coherently unified record. 

Realismo Mágico has been conceptually crafted and musically curated by Peruvian composer Sergio Díaz De Rojas, and beautifully depicted by illustrator Jordan Amy Lee and graphic designer Celia Fernández González.

Tim Linghaus - Saturn Days

Written and Produced by Alberto Lucendo & Luca Longobardi
Mastered by Rafael Anton Irisarri at Black Knoll Studio (NY)
Photography by Alexander Kopatz
www.go70north.com
ARCHIVES75 // ARCHIVESCD56
Archives | 2021

Sacromonte & AFK - Stromboli

Echo of Wings

Julia Kent - Echo of Wings

'To Move' is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

Their self-titled album is scheduled to be released November 25th on ltd LP, CD and digital.

To Move

To Move - They said, we said

Boris Rogowski conceived the idea for The Waste Land in the autumn of 2020, when the world became quiet again after a deceptively easygoing summer. During a walk among the “last fingers of leaf” he revisited in his mind the landscape of T.S. Eliot’s enigmatic poem The Waste Land, a somber meditation on disillusionment, nostalgia and isolation in the “modern” world of the early 1920s. It had accompanied Rogowski for many years, and knowing entire passages by heart he found that the strange, tuneful lines had left him with a sort of musical map of the Waste Land. What he heard was a string quartet playing amid a stream of dissolving, permanently mutating sounds, seeking hold, losing it, coming up for air again. The music he envisioned melded contradictions into a cohesive whole, was strange yet universally accessible and – just like Eliot’s poem – an expression both of sorrow for a lost world and hope for a new beginning, deep admiration for classical tradition and disgust at the snobbery and ignorance of an elitist class trying to keep it under lock and key.

The even quieter winter months found Rogowski working long days and nights on the score, putting the music in his head to paper. Also, he quested for the sounds that would be able to represent the stream of synthetic memories that in his vision rolled through the music like the river Thames through the central portion of the poem—and found that they were already there, right in front of him: In the early days of the pandemic he and his friend and studio co-owner Bazzazian had harnessed the halt of everyday life to create a library of sounds that embodied their very own idea of style. For this purpose, they had sent their recordings of acoustic and electronic instruments through a specially devised processing chain, giving them an evocative, strangely timeless quality. It was only logical that those sounds would form the foundation of The Waste Land.

Later, in the spring of 2021, other musicians brought in their unique voices: Moishe Lichtfuss [flute, tenor sax] added his woodwind textures to many of the compositions, most notably on “The Sound of Horns and Motors”. Claus Schulte [drums] made a brief, yet crucial appearance on the centerpiece “The Violet Hour”. At last, the Waste Land String Quartet (Alexander Sachs and Irina Borissova [violins], Anna Krimm [viola] and Michael Preuß [cello]) recorded their parts under the baton of fellow composer David Menke who also played the solo piano on the brooding “In Rats’ Alley”.

The Waste Land is a unique musical cosmos that nonetheless touches upon many reference points, among them the minimalist music of composers like Michael Nyman and Philip Glass, Post Rock of bands like Tortoise or Swans and contemporary Experimental and Ambient works like those of KMRU, Christina Vantzou or Tim Hecker. Like Eliot’s poem, it contains a multitude of voices and fuses them to a music very much its own. The album begins with a wash of piano that carries splendor and melancholia in equal measures and ends with the pointillistic rhythm of Morse code spelling out the final words of The Waste Land, “Shantih shantih shantih”—peace.

In 2022, T.S. Eliot’s poem will celebrate its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day.

Boris Rogowski - Marie Marie

Good morning. I hope that you are well. Today I have another beautiful track to share with you via this exclusive premiere. Or maybe it's a video premiere. I actually couldn't decide, so I've asked Cedric Vermue if I can publish both. I think it was a good decision and I hope you will agree. I first got introduced to this Dutch pianist, composer and producer of fragile, nostalgic, and serene neoclassical-meets-ambient music [the cross-over genre] when I premiered a piece titled "We Came and Left" from his Left Upon Us album on Piano and Coffee back in 2019.  Besides playing the piano, Vermue also plays the church organ as well as analogue synths which he incorporates with Rhodes during his live performances. He returns early in March, this time on a fairly new to the scene, Utrecht (The Netherlands) based independent imprint, mylja. I have previously introduced this boutique record label started by Yaron Cohen and Daniël Leseman in 2020 with this writeup of Alchi's Full Of It. I am happy to see that the label continues to persevere in its output of absolutely gorgeous music [this crazy world demands more beauty!]. And Vermue's upcoming album is a perfect addition to the catalogue! "Perpetua is the Latin word for infinity, referring to the Christian tradition that played an important part in the inspiration for this album, taking inspiration from Gregorian melodies and old organ music." The piece I'm featuring today is a recomposed Gregorian Sanctus melody (Sanctus XI) played on a piano and clarinet. The captivating video, directed by Victoria Ushkanova, and "shot on a cold wintery day in a forest near Almere", features Nicolo Zanotti, interpreting cascading arpeggios complemented by Lex Houtermans (clarinet and contra-clarinet) and Rudi van Hest (clarinet). There is a lot more I can say about the production, credits and approach, but instead of lifting the veil of mystery, I'd rather let the music do the talking... and let emotion sweep away...

Perpetua

Aether

TRACK PREMIERE : Cedric Vermue - Aether

This morning I am delighted to spend more time with David Poltrock and his music. He is not completely new to my ears, as I have previously enjoyed and covered his piece with Adriaan de Roover, titled "44,2 km". Today I am premiering a track titled "Titanus Giganteus", taken off his upcoming release Aulus I, which, as I hope you can guess from the album title, is part of the diptych of two instrumental works, with the Aulus II coming out later in the year. It seems that we're all mesmerised these days [at least in my circle of musician friends] with sounds originating from strings, piano, tape, and light electronics. But even if the ingredients are all the same, it is the flavour of the dish that is important. In this case [as is the case with all of my previous musings on sound], it is the emotion behind each piece and the composer's ability to communicate and transfer that emotion into mine. It seems so simple, yet it's not. And if the musician truly accomplishes this task, then the ingredients don't matter. It could be just a piano. It could be just strings. It's great when each one has a place in the story. This is what I think about [and what I feel] when I listen to Poltrock's music. And that's the greatest compliment of all. For this piece, which is a rework of his previous original track, "Titanus" (Machines, 2018), Poltrock starts with the lofi piano and brings in the strings performed by Sun*Sun*Sun String Orchestra for a dynamic, intimate and soaring composition that wonderfully conveys the sound on his album as a whole. Beautifully sculpted, executed, and received.

Aulus I

Titanus Giganteus

TRACK PREMIERE : Poltrock - Titanus Giganteus

Flora & Fauna (Reworks)

II (Lucy Claire Rework)

One of four remixes taken from 'Weightless' by Alex Kozobolis

Preorder LP | CD | DL: https://www.indiegogo.com/projects/alex-kozobolis-weightless#/

Weightless is an EP of intricate original piano compositions by UK artist Alex Kozobolis. With a series of solo releases over the past few years and collaborations with artists such as Lee Chapman, Harry Edwards, and Anna Rose Carter, Weightless represents Alex's unique approach to composition and melody.

His touch on the piano is light and fluid; moving between dense sustained runs, which evaporate as soon as they are heard, to spaciously plotted notes. Weightless is the sound of weight itself lifting, of the earthly effect of gravity removed and allowing the listener to be suspended within mid-air, uninterrupted by pressures and restrains of the physical world. Coursing with energy, and running to take flight.

Each of the four tracks have been remixed by Siavash Amini, Tom Adams, Trnspt and Hedia, with very different, but cohesive results, expanding the tone of the EP into new areas.

Weightless will be available on limited clear vinyl, digipack CD and digital editions.

Tracklist

Side A
1. Unravel
2. Closure
3. And Find Yourself
4. Weightless

Side B
1. Weightless (Tom Adams Remix)
2. And Find Yourself (Siavash Amini Remix)
3. Closure (Hedia Remix)
4. Unravel (Transept Remix)

And Find Yourself by Alex Kozobolis (Siavash Amini Remix)

Isotach

Extinction

Shuta Hiraki 
Not Here, But There [RTE 009] 
"ここではない、どこかへ"

Music for falling asleep. 
Lower the volume a little & lie down. 
“入眠のための音楽。スピーカーで、音量を少し下げて、横になって”

OUT Feb. 01 st
https://rottenmaneditions.bandcamp.com/album/not-here-but-there

Shuta Hiraki - But There

leise der Schnee

The stars are always falling

I visited the Jewish Museum in Berlin a week ago and I felt overwhelmed since I walked in the first corridor.
The Memory Void, one of the symbolic spaces on the ground level of the Libeskind building, includes the installation Shalekhet (Fallen Leaves) by Menashe Kadishman. More than 10,000 faces with open mouths, cut from heavy round iron plates, cover the floor of the ground floor void.
Menashe Kadishman’s sculptures stir painful memories of the victims of war.
The soundscape you hear within the composition is a recording I made in the Void of people stepping on the iron plates.

10,000 fallen leaves

10,000 Fallen Leaves

Marco Lucchi : mellotron and synth

1 febbraio 2019

Tristan and Iseult

Marco Lucchi : analog synth and treatments

variations on the finnish popular chant "Luullahan jotta on lysti olla"

11 febbraio 2019

Kantele

ArtStudio & Record Label.
PRE-ORDER NOW!!
THEATRE OF DELAYS / SÚTON  [RTETP005]

"I'm a mellow artist, aging 67. I love and release eclectic music, from post-classical to drone. My fave instrument is the Mellotron."

Così, sinteticamente, di solito mi presento.

In genere compongo musica partendo dal suono delle tastiere, ma il mio vero strumento è il registratore.

O i software di registrazione.

"I was made for loving and making recorded music."

Confido da sempre nel potere evocativo e orfico della musica, nella sua capacità di riconsegnarci a mondi più veri e più giusti, più belli di quelli in cui di solito viviamo.

"Ich bin ein kosmische Kurier"

I'm using these tools: Mellotron micro, Waldorf Blofeld synthesizer, Behringer Crave, IK Multimedia Uno synth, Roland Juno synth, Volca keys, Casio digital piano, micropiano Korg, Manetron (iPad app), iTampura (iPad app), Eko 11 (...) string acoustic guitar, electric violin, Orla analogic expander, tenor, treble and descant recorders, soprano and tenor tin whistle, Akai, Roland, Alesis and Arturia controllers, upright piano, Squier 3/4 electric guitar, melodica, Bubble Harp (iPad app), Schoenhut toy harp, soprano ukulele, Eko acoustic guitar, Peavey Composer acoustic guitar, Kurzweill micropiano, Boss and JamMan loop stations , Behringher multi-fx, Olympus portable digital recorder, Phonic, Behringer and Yamaha mixers, Audacity, Paulstretch, various players and plug-ins .. (that's all, folks, I think ..)

latest releases
https://ambientologist.bandcamp.com/album/suggestiva
https://ambientologist.bandcamp.com/album/venusia
https://hibernate.bandcamp.com/album/as-riddled-as-the-tide

for further works please go to my bandcamp page
https://marcolucchi.bandcamp.com/

and to 
http://webbedhandrecords.com/
http://www.laverna.net/home/
https://silentflow.org/

iTunes and Spotify as well ..
feed and share ..
https://open.spotify.com/artist/1TRilVaDaQw0ksGqU5tuCh?si=zXD-0xFWS-2yrUs542SH9A

SoundCloud è la piattaforma musicale che preferisco perché è soprattutto il regno degli amateurs, di quelli che fanno musica per sé e per gli amici .. come quando da ragazzi si condividevano con gli altri le invenzioni e le creazioni .. io sostanzialmente sono rimasto lì e così .. non sempre, ovviamente, ma spesso ci trovo delle cose che valgono altrettanto - se non di più - rispetto a quelle più affermate e conosciute

Shuta Hiraki - But There

Rottenman Editions

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