Amazing bit of Magic going on! i particularly like the stanza describing what we swapped. Seems like that might be atributed to Sartre.

very creative and immersive, well written.

intense fine work , laugh the changing of your voice

Composed&performed&produced by Mario Lončarić

SUMMER RAINY DAY

Fairy Charm

Use. Abuse. Obtuse.

The original instrumental is titled Vibrafold
https://soundcloud.com/anubranchovlightning/vbrfld
from the album https://neurologickthunder.bandcamp.com/album/aa-witched

Music by SanjanG @anubranchovlightning
Artwork by Astarte 23 @astarte23
Added lyrics, vocals, & cover design by Myrh @myrhyum


WEAVE ON
______________________
I wanna live

Wingless yet further we fly
Further we fly

I still gotta learn
We still got to learn
Still whilst we’re still alive

And those who are not with us anymore
And those who are still alive
Those who are not with us anymore

Oh, break the chain

Break the chain, break the chain, break the chain
Break the chain

Weave on
Weave on
Weave on

Break the chain
Break the chain
Break the chain!

Break the chain!
Break the chain!

Weave on
Weave on
Weave on

Break the chain!
Break the chain!

~

Another world, another world
Another another

Another another another world

Unbroken bricks
Rips of silk
Remnants of insects
untrodden paths

All along
All along
Sullied by you
By you strangers
Under my skin
For nothing

Not one thing or anything or a thing
Or me or you
Not one thing or anything or a thing or me or you

Under my skin for nothing
Not for it or they this me you
Its just sick and its done over and over and over
again

Sullied by you, you strangers
Under my skin

Ease on, ease on
I’m on side
I’m on sight
Say


Future…

sullied by you, by you strangers

Future, future
Just say it again
Just say it again

Future, future
Future

Break the Chain
Break the Chain
Weave On!
Weave On!
Weave On!
Weave On!
Weave On!
Weave On!

I’m on your side
I’m on sight

Break the chain, weave on
I’m on sight
Break the chain
Weave on

Weave On  (Break Da Chain)| MAAT > SUNHEAD/THUNDERVISH - Vibrafold

Poverty
The "Schwabengehen", which finds its first mentions already in the 16th and 17th century, experienced its peak in the 19th century. It is estimated that at that time five to six thousand children worked annually on farms abroad as herd boys, maids or as farmhands. The background to this was the extremely low soil yields in the alpine regions and the associated poverty, which drove parents to send one or more of their numerous children abroad.

The Ways
The ways from Tyrol and Vorarlberg or from Switzerland to Upper Swabia were long and arduous. For some of the children, most of whom were between 5 and 14 years old, it led over mountain passes such as the Arlberg, which were usually still covered in snow in March and which many had to overcome with poor shoes and scanty clothing. Usually their companion was an adult, sometimes a priest, who made sure along the way that the children could settle down to sleep in warm stables and who negotiated prices at the markets. The construction of the Arlberg railroad in 1884 made the journey easier for the Tyrolean children.

The "children's markets" in Upper Swabia usually took place around Josephi (March 19). At Simon and Juda (end of October) or at the latest at Martini (November 11) they went back home. In the luggage were then the so-called "Doppelt Häs" (a double set of clothes from the headgear to the footwear) and, depending on the age and the negotiated price, a few guilders.

The Hütekinder arrived at the port of Friedrichshafen by ship from Bregenz. Since 1891, the central market place for the Hütekinder was in Karlstraße in Friedrichshafen. The children who were not placed traveled by train to Ravensburg to be placed there.

The work
In their homeland, Swabian children were exempted from compulsory schooling every year, and in the Kingdom of Württemberg the compulsory schooling that had existed there since 1836 did not apply to foreign children. The politically repeatedly demanded extension of compulsory schooling was prevented until 1921 by an Upper Swabian farmers' lobby.

Schwabenkinder (Swabian Children)

Method: An arpeggiated background and other stuff in the foreground. No field recording for once.
Narration: Trying to combine pareidolia with a myth told by Plato, a theory proposed by Timothy Morton and the existential experience narrated by Sartre in La Nausée. 

Lyrics / copyright jo richter:

a week before her disappearance
the god convinced him not to go looking
and since she has shown up everywhere
even in flowers or cracks in the street
he did stop looking but he can‘t stop seeing

the cheek of the sun
the belly of the moon
the brow of the street-lamp
the mouth of the ridge

ever since the gods have split our rounded selves
to make our halved halves more eager to offer
and to prostrate before their altars, plato said,
we have been subject to the lure of fulfillment
to attraction, suggestion, projection, pareidolia

the voice in the chatter
the smile in the branches
the smell of the meadows
the thoughts of the birds

it was about twelve thousand years ago, another
philosopher said, that we swapped synergy
for energy, symbiosis for the notion of freedom
belonging for yearning, compassion for passion
and senses that perceive for senses that create

the song arouses
the idea lays out
the perfume seduces
the commodity is longed for

doctors tell him he suffers from trichotillomania
as tufts of hair compile in his hands, but he knows
better for where there was life and encounter, there
now is the void of the unknown, the shapeless nausea
of existential threat only comforted by fits of pareidolia

the gnarly root of the tree
the grin on the face of the jackal
the polka dots clothing the jester
the lack of her presence wherever he goes

pareidolia

Pareidolia

Only The Moment Is Real

Hear Tell Tin A Thin Retell Taller Thine All Thirteen

Hotorturbar

Motion is created by the destruction of balance ...

Experimental industrial dub

Motion Picture

Recorded this friday afternoon. Raw and unpolished.
bpm 75, feel free as always.

Picture found here: https://pin.it/3QRzgzV

Rubberbootdance

POETRY IS VITAL

This threshold space exists for those who feel like listening to some of my quite professional poetry embedded in rather amateurishly recorded but judiciously arranged sound, a modicum of purely acoustic work notwithstanding.  Fortunately, some other artists have also transformed the symbolic expression of my words into the tangible beauty of real songs and soundscapes - just listen to Sympoetic Ultrasounds: https://soundcloud.com/sonic-textures/sets/sympoetic-ultrasounds !

SOUND, SPACE AND TIME

Tend your listening senses gently. Even though my general approach welcomes and embraces lo-fi concepts like the precision of spontaneously occuring imprecisions, headphones worth their membranes are recommended - unless you like your sounds flat, mangled, battered and helpless. You don't, do you? Be kind to these soundscapes.

STRUCTURING IMPULSE

Due to the nature of "poetry soundscapes", your listening expectations regarding traditionally structured "songs", sonically purified "raw wildlife soundscapes", keyboard-laden "ambient recordings" or voice-centered "readings" might not be met. You will find some of those in my list of /likes/. "Noise" is a recurring structural element like any other. This is what this sounds like - within its own rights, limitations, tangents and interconnections. Sonic structures. Silent stretches. Poetry emerges from the gaps between the ruts, seeps in from the undergrowth, sweeps down.

CARVING, CHISELLING, KNEADING, MORPHING

A quick glance into my toolshed rests on Zoom recorders, Samplitude software and a dizzying array of diverse sonic machinery. After all, sound is one way my poems know to materialize - insolently shapeshifting, indelibly greening into the cultural real.

LARGE AND SMALL GIFTS

-----------------------------
Small Gifts

the less to remember, the more to listen
gifts from the ice age reverberate
a simple story, a forest, a coastline
entangled in silence, one starts to relate
---------------------------------------------

In case you have read up to this point, you might be a sonic creator yourself. May I ask you for a helping ear? Above, there is a tiny poem of mine that I do not understand how to translate into sound. If you do - please act on it. It is a matter of common decency, of course, to keep the title (Small Gifts) and to credit the lyrics to me (jo richter). And please do notify me of your version via a soundcloud message. One bewilderingly beautiful version crafted by mono-lux has already gone public.  You'll find it in my playlist Sympoetic Ultrasounds. This is just a small gift, not a challenge - life already has more than enough of those on offer, doesn't it? Treat it this way.

POETRY IS VITAL
sound, space and time
structuring impulse
carving, chiselling, kneading, morphing
large and small gifts
poetry is vital

GENERAL POLICY regarding the use of LIKES and REPOSTS:
I like what I like and want to hear again.
I only repost what I've had a hand in creating.
Do not expect other behaviour from me.
(jo richter)



Pareidolia

sonic structures and silent stretches

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