SERMON

Marco Lucchi : organ and synthesizer
*
playing with
https://soundcloud.com/user-920947015/aprilis
*
aprile 2024

Omnia florent - w/anon8924

Lyrics by C.

The day is wearing a thousand shades of fall
Red, green, brown, and lucid as rain
Home is where the stories are insane

The drops of rain
I’m falling again
Towards the path of thee
It’s another lemon tree

Average 
The one I don’t belong
The one that keeps me mighty and sharp
As the thunder keeps the light

I fall for the shades 
And it falls into place to alter the origins of mine
Into a home for every soul

Containing There is no such thing 
For that infinity is the only word
I can take shelter under the loopy roof

Here are my lines
And if you look closer
You’ll see yours
Just between the lies

Not the one of repetition
But some just can’t keep it in the momentum

Here are the shadows
I’ve been ready to share

Here are the meals
I’ve been in to prepare

Here are some of the shades
Not meant to fade further away
For that, I have many homes to ride in the say

Shades

Jam session from practice of song down on SolaceStreet

Blackbird (inside)

Peacefull Shakuhachi with reverb.
Mood sounds made with music software.

Kiko, Le Renard Des Neiges.

25Apr24

My naviarhaiku538 submission
https://naviarlab.tumblr.com/post/748642894936784896/naviarhaiku538-only-the-moon-remains
:D

Only the moon remains [naviarhaiku538]

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

Oändlig

14Aug24

My naviarhaiku553 submission
https://naviarlab.tumblr.com/post/758155860989149184/naviarhaiku553-other-than-the-woodcutter
:D

Other than the woodcutter, there's nobody here [naviarhaiku553]

07 a river in the winter

Experimental meditation oscillation song. TEOP1 Field keyboard, started with a layer of mid-level digital organ with some weird timber effect in it, then added an almost walking jazz bass accompaniment, then went back and added a higher layer of some more ethereal stuff.  The point of this song is drone background for some thinking/working.

Preoccupied Oscillation

OUTER (2021)

Almost all tracks are free to download and covered by a Creative Commons license. Collaborations / Remixes are welcome so feel free to experiment - no need to get my permission first. Just send me a link to your track when you're done :)

I love listening to & creating ambient, dark ambient, avant-garde & experimental electronica (and the occasional beatscape). I have no professional aspirations  - I just really like creating music / manipulating sounds. It's my way of relaxing after a hard day at the office. All my tracks are produced using monitoring headphones (Audix A140) so I recommend that you listen to my music through headphones. My DAW of choice is FL Studio. I also use Reason every now & then. 


To the artists I follow; I do my best to try to listen to as many of your tracks as possible each night (I listen to each track all the way through - you went through the effort to create a track so you deserve to have it heard in full). If I miss a recent upload of yours, please forgive me...

Thank you for taking the time to visit my little corner of the soundcloud.

Only the moon remains [naviarhaiku538]

Stan Magendanz

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