And another beautiful oiece of music. If there were lyrics, they surely would be sad. BUt this music is just wonderful.

zeitlos schön, schön zeitlos, zeitlos schön, schön zeitlos, zeitlos schön, schön zeitlos, zeitlos schön, schön zeitlos

https://soundcloud.com/seelensack/sets/in-memoriam-eberhard

An evolving electronic sequence, sounds created in Pure Data

Glow & Flutter (naviarhaiku491)

They majestically stood next to each other filling the night sky. Featuring The Synthetic Choir

Full Red Sun,Full Silver Moon

Inspired by the following haiku written by Darren Bourne:
Caterpillar
Opens her new wings
Metamorphosis
You can find Darren’s music on Soundcloud (https://soundcloud.com/half-unusual) and Youtube, and check out his website to find out more about his publications and merchandise: https://www.halfunusual.com.
Thanks to Naviar Records: https://www.naviarrecords.com/2023/08/23/naviarhaiku503-caterpillar/

My Naviar Haiku

The Painful Opening Of The Wings (naviarhaiku503)

Sigh

Progressions of Leo

Weekly challenge for Naviar records #naviarhaiku519.

" morning service
offering its fragrance
a white lily "

Haiku by Sôen Nakagawa https://tricycle.org/magazine/endless-vow-zen-path-soen-nakagawa/

Picture by Gavin Stokes https://unsplash.com/photos/XLWaJhNKMbg

White Lily (Naviarhaiku#519) © 2023 by Nadìr is licensed under CC BY-NC-SA 4.0

White Lily (Naviarhaiku#519)

An edited sample from a Project with the working album title of 'Old Stones'. This will be the first non Dronescape album I've done for the label, We Are All Ghosts, for a very long time.  https://weareallghosts.bandcamp.com/album/old-stones-waag-rel157

Cousin Silas - Sunset On Tomnaverie (Edit)

Lamentation In memory of my cousin!
January 4th, 1959 - January 7th, 2023
Painting is a Self-Portrait by Eberhard Knappertsbusch, mid 70s

EBI Lament

Montage et photographies : 
© 2024, Chartrand Saint-Louis
Lien vers la vidéo : https://youtu.be/6Estp1cl5j4

Musique :
© 2024, composition et orchestration, titre : "Paysages d'hiver", par Albert, 4:04 min.

Mixage, révision et sonorisation par Albert

Paysages d'hiver

"Paysages d'hiver", par Albert; Mixage, révision et sonorisation par Albert [lien vidéo]

Starlight...twinkling stars, high up in space, will light up triggered by the bright notes of a piano. No specific composition, but just a small intuitive played melody in the evening.

Starlight

instagram.com/a2rbeatz/

a2rbeatz.beatstars.com

DELAY - UK/NY DRILL LOOP 140 Bpm @A2RBEATZ

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 - Warum

Life has taught me that all I know is that I know nothing!

So I'm bound to cite the late Holger Czukay (CAN), 
"We completely refuse to make a judgement about what is beautiful and what isn't. We make something, that's all, and the scope of possible sounds is immense.  We're not musicians, we're universal dilettantes" (1972)

In 2007 a friend induced my German choice of name SEELENSACK (Sac de l'âme - Soul's Sack). 

Im Jahr 2007 regte eine gute Freundin mich zur Wahl des Pseudonyms  "Seelensack" an.

I am a Facebook - Twitter - Instagram - refusenik ... so I will not support anybody on these media platforms, sorry!

EBI Lament

Seelensack

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Seelensack

ⓁichtⒷildⒼestalter

ElektRoman The Biomind

henry koek

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