"Sometimes, when the anger fades away, all we're left with is quiet introspection. This side of Nimbostrata reflects the journey of exploring those faint traces of emotions. Nimbostrata encompasses metal, electronica, ambient and electroacoustic music because the creative output is part of the same process. Kudos to MUWN and Skyler Remillard, with whom I worked on a collaborative album." (LR Friberg)

Nimbostrata - Fading Echoes

2023-06-30

Bell Ringer's Way To The Bell Tower

Instrumental studio sketch August 2023. Available on Apple Music, 1 September: https://music.apple.com/gb/album/light-first-light/1705000986?i=1705000987

Light #1

Buy on iTunes Store

Undying

Emergency - 01

'eiwa

Cordtail

This track is part of Athenian Truckstop Issue #4 Songs for Dreaming release, found here:
atheniantruckstop.bandcamp.com/album/iss…-dreaming

The theme was dreams

Todd Tuttle https://soundcloud.com/user-849753517-658869299 drumset, percussion, voices, whistling, words

@douglasmseidel: banjo, bass, beans, drum, cowbell, gong, organ, other stuff, penta guitar, toy piano, water jug


it started with a plastic 24oz jar
half filled with foamy yellow liquid and some very sticky residue at the top

tom of tom and jerry
fame
had one broken ear
and he was sitting on the ledge of the garage window

I can’t remember what I was doing

but I know I was wearing a
poultry keel necklace
that laid so elegantly
over my clavicles

every thought
every measure
gets bigger and faster
and further from the next

plumb shucks said thumb plucks
untuck that loose end of the dumpling lover
and wrap some warm rising dough around your head
dumb luck kept ducking under the fun chunks
until he realized he was bouncing on a shingle instead
he said that’s some kinda skipping slip of the bliss bud

chimichuck said to raisin brains

wrench mouth woman has a heart in her throat
with the wave of her stick arms she weaves me a coat
the birds that are flying carry sticks to her breast
crescent mouth moon lucky charms and the rest

sticky residue

Lyrics: Thies Mynther
Recorder: Paul J. W. Schauenburg
Rearranged for performance "Tryptophylia".

Feed on Me (Tryptophylia ver.)

A short little demo piece from 2006 using the Yamaha TG55, the module version of the SY55, which I preferred. It sure was a handy, and inexpensive little box though, and great for combing with other synths. This is it all alone, and the unlike most of what I play where I like to make my own sounds (much better at that than actually playing), this is one of the preset sounds. #SoundCloud ☁️

Five by Five

Five by Five 𝟓 x 𝟓 (Yamaha TG55 Synthesizer MIDI Module, Recorded in 2006).

Six Three
1: Six Three, 02:32
2: Six Three Touch, 03:00
3: Six Three Orbits, 03:39
4: Six Three Particles, 02:13

Dates:
05-Dec-2025 (inception), 06-Dec-2025 (finalised), 07-Dec-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/six-three

SHORTEN VERSION, excludes Table 1 tuning, see my BandCamp site or my social media page for full details (https://www.facebook.com/norman.freund.545/)

Description:

Marcelo Leal Ref. [1] posts an article on FaceBook group, "Microtonal Music and Tuning Theory" and tags me, I looked on with interest. A tuning scale developed using at most harmonics one through to and include sixty three, octave reduced (i.e. divided by powers of 2 to ensure the frequency ratios remained within the 1. to 2. range. 32 Notes were used in this scale with adjacent note intervals starting from 53 cent, gradually reducing to 27 cent for the last interval to the first octave. So loosely speaking a quarter tone tuning with some stretching. I have tried quarter tone equal divisions of the octave tunings (24EDO) in the past and could not really get warm with them. Still, I was intrigued. 

Thirty notes, a lot of intervals to imagine, so I thought some form of colour coding on my Ableton Push2 midi controller would help. My Digital synthesiser, PulseRectOsc has micro-tuning and a user definable colour table, so switched this on and began experimenting. Stepping back just a bit, some preparation work on a spread sheet was necessary to calculate the frequency ratios, figure out a colour system using nearest 12EDO notes as a frame work.

The colour coding was to start the root note out as RED (1), colour all the diatonic notes of the nearest 12EDO major scale notes (the white keys on a piano) in GREEN (10), colour the nearest 12EDO sharp accidentals (#) in BLUE (15) and what was left over (the ^ and \/'s) coloured in PURPLE (18). The note naming convention used here was intended as a performer guide.

The PulseRectOsc synthesiser is a drone with a pulse like wave shape, amplitude modulation, wave folder distortion, a delay+feedback net work and your choice of VST reverb (or other effect). I used the Native Instruments' Raum for reverb. PulseRecOsc has an eight track audio recorder, so I recorded some four note chords to improvise over on the Soma Lyra 8.

The Soma Lyra 8 tuning approach was to tune it by ear to eight notes from the Table 1 tuning for the first track prior to the performance, then improvise a melodic line. Subsequent tracks would use a different four note drone chord from the PulseRectOsc and the Lyra 8 would use the tuning from the previous track as a starting point but alter the tuning during the performance. Each performance would introduce additional entropy into the tuning as performed on the Lyra 8, all done live, by ear, during the performance.

Each track's duration was purposely kept short, I wanted to demonstrate the various flavours of the 63-Limit Otonality tuning and in Lyra 8 style interpret this tuning organically.

The signal chain for the Lyra 8: mono out to the Soma COSMOS (rhythmic firmware, adds reverb and stereo space) -> stereo to digital interface -> 8 track recorder of PulseRectOsc.

The tuning of the Lyra 8 is very organic, is influenced by adjacent oscillators and has a "MOD" dial to accept frequency modulations from what it calls a "Hyper LFO". The Hyper LFO comprises of two low frequency oscillators, I used them here in the OR mode not synchronised, each pulse of the LFO changes the oscillator voice frequency according to the MOD dial. You don't control it strictly, more like guiding it, you listen and decide to increase or decrease the amount of modulation. A very organic approach.

References:
[1] Marcelo Leal, 5-Dec-2025, 63-Limit Otonality by Pitch (tuning scale). FaceBook group "Microtonal Music and Tuning Theory" Link: https://www.facebook.com/share/p/1asmaHiK7G/

Six Three Orbits

Robert Sharl began recording his own compositions in 2023, releasing them on his Futurilla Sound label. His releases to date have encompassed electronic mood pieces, treated guitar sketches, ambient field recordings, and original soundtracks for experimental films. His second album OCHRE, a return to guitar-based compositions, was released in January 2025, and OCHRE SONGS, a companion collection of vocal demos, is released on December 12th.