Ambient/experimental track from "it feels like rain" by szelest


Spotify   -  https://open.spotify.com/artist/1IJfN...


DM me with your ambient for future colective project  -  filiptjaworski@gmail.com


Enjoy and have bombastic tasty coffe, love be with you
#ambient
#experimental
#szelest
#undergroundartist
#independentartist

Can't Talk To Tell  |ambient|  |experimental|

'Motherland' with Bålsam is out now on Neotantra:

https://neotantra.bandcamp.com/album/motherland

Motherland

Atmøsphäre & Bålsam - Motherland (Excerpts)

Orbiting Reflections is part of Child of Jupiter - a serene ambient album that captures the essence of a journey to Jupiter and Europa. The tracks blend subtle, atmospheric sounds, creating a peaceful backdrop ideal for relaxation or contemplation. It's a quiet homage to the wonders of space, inviting listeners to a gentle, auditory exploration of our solar system.

Full Album here: https://soundcloud.com/jaycbrewer/sets/child-of-jupiter

Orbiting Reflections

The output of this effort has a dark, haunting, ambient tone throughout the tracks.  Somewhat mysterious and dreamlike, yet approachable melodies and instrumentation.  I really hope that you enjoy the ambient journey that this music presents.

Twilight Soma

Nothingness

SuppOrt My WOrk HEre!

Threads

What do we do now

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

Like Tears In Rain

2024-05-08

Confession

________________________________________________________________________
- Made with MOOG & Modular / Multi-tracks
- Composed, arranged, performed, produced by Pier WILL & Studio 4H09
- Artwork - Pier WILL
- Acknowledgements - Ableton, AKG, Arturia, Audacity, Cantabile, Focusrite,   Korg, M-Audio, MSI, Sony, SoundCloud, Teac, Techniks, Yamaha.
- #Ambient #Movies #Experimental 
________________________________________________________________________

This track was created for the Naviar Haiku group.
540
https://www.naviarrecords.com/naviarhaiku540-face-of-the-winter-pond/

2024-05-09

Face Of The Winter Pond (Naviarhaiku 540 )

★S-177
Velvet Lull is a gentle modern lullaby shaped by soft mallet tones, rounded textures, and carefully controlled space. The melody unfolds slowly and quietly, creating a sense of safety, listening, and emotional presence rather than performance. Subtle ambient air supports relaxation and helps calm the nervous system, making the piece suitable for rest, bonding moments, and quiet nighttime routines. The minimal structure encourages slower breathing, mental release, and a feeling of grounded comfort for both babies and adults. A brief emotional turn introduces a touch of fragile melancholy, adding depth and human warmth without breaking the calm. As the music resolves, it returns to reassurance and softness, supporting emotional balance and peaceful focus. Every sound is intentional, refined, and uncluttered. Velvet Lull is designed to gently support sleep, relaxation, and emotional ease, offering a quiet presence that soothes rather than distracts.

Velvet Lull

i took the bus by my own

Solo works of sound and visual. 
Sounds recorded, pictures taken.

Thank you for listening and liking.

What do we do now

Sievert Gray

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