9-12-25 (lady sings the blues)

Ice Falling in Fashion

Gray Acres has always been a space for subtlety and restraint, distinct from the denser, more cinematic atmospheres of Hotel Neon. Where that project often explores process, technique, and narrative arcs, Gray Acres tends to be produced "in the moment" and stays still. It lets you think for yourself. Soft Erasure especially embraces that characteristic stillness.

This is the first full-length Gray Acres album since 2021’s “Dreams and Phantoms.” It’s a project that came together slowly with an intentionally light touch…more about dissolving sounds than constructing them. Subtraction vs. addition.

The title Soft Erasure came about as we noticed a recurring quality across the recordings: a sense of tangible things like guitars, pianos, and strings fading, softening, and slipping just out of reach as we shaped and processed them. The music feels like it’s constantly on the verge of vanishing, or being gently wiped away into an indistinct atmosphere. That idea of erasure not as violence, but as gentleness, decay, or transformation, felt like the right metaphor to latch on to. It speaks to memory, distance, and time, and how all of those forces shape and reshape our perception of sound and self.

Musically, this album is built mainly from resampled acoustic instruments: delicate piano lines, sustained strings, frozen and looped guitar textures. Much of the source material was recorded clean, then stretched, blurred, and layered until it became something abstract…like an impression of a song, or a half-remembered phrase. In some ways, we were trying to find the most washed-out and ephemeral version of each sound. The result is a record that is designed less for narrative and more for immersion.

If you’ve followed this project before, I think you’ll hear a natural continuation of its aesthetic. But if you’re new to Gray Acres, this is a great entry point. It’s music that tries not to demand attention, but rewards those who tune in closely for a while.

Gray Acres - Soft Erasure
Music by Andrew & Michael Tasselmyer
Mastered by Alex at Quiet Details

Gray Acres - Vestige

Hang around the water and figure out the sun

"Strawberry Fields Forever" by The Beatles reinterpretation + Elisa's voice and mine (fortunately at very low level).
4-track cassette tape loop, dubbing it live.

Full Video: https://youtu.be/PDrlTf0XxZs
Track's Bandcamp:
REEL: https://www.instagram.com/reel/DPCB8ZyDpQ2/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Enjoy :)

Strawberry Fields Forever _ Tape Loop

Performance sonora realizada na Primeira edição do Ciclo de performances DES.A.FIO, no Museu Nacional da República, sob curadoria de Luisa Günther, do dia 15 ao dia 17 de agosto de 2025. 

Em “nuvens n.1” e “nuvens n.2” a artista Lind Vieira busca provocar a sensação de se estar entre nuvens, a partir das camadas de sons de loops, ruídos, paisagens sonoras, sons generativos e da música ambiente.
www.instagram.com/lindelirium/

--
Durante as performances, Lind Vieira constrói o som a partir de camadas, modulando ao vivo e muitas vezes reagindo com o som ao ambiente e público presente. “nuvens n.1” realizada no dia 15/08, Lind Vieira usou duas caixas de som monitor virada para o público. Já em “nuvens n.2” realizada no dia 17/08, foram usadas 4 caixas de som bluetooth espalhadas pelo espaço da galeria 1, fazendo assim, o som soar por toda cúpula do museu. Além disso, durante a performance “nuvens n.2”, aconteceu participações de outros performers presentes no Ciclo, com intervenções sonoras que não foram registradas pela gravação, mas que criaram momentos únicos e efêmeros à medida em que Lind Vieira interagia e respondia modificando o som. 

--
Cover art by Lind Vieira
Recorded with VCV Recorder 
Equip used:
Behringer Xenyx q502usb Mixer
Teenage Engineering PO-35 Speak
Korg Monotron Delay
VCV rack 2
Arturia Beatstep controller
Game Joystick Controller

More about: https://www.instagram.com/p/DNVxgn7MtKyZbV6hy5IlIY7CJaeyEnhQwJWBUw0


nuvens n.1, no DES.A.FIO - ciclo de performances, Museu Nacional da República, 2025

Recorded between March and June of this year, Future Flowers is both a reflection and a rebirth - a gentle yet resolute act of hope from composer Hans Nox.

Some of these pieces have lived quietly for years - written a decade or more ago, resting like seeds beneath the soil. Others emerged spontaneously during the recording sessions, unfolding in real time as Hans allowed instinct and feeling to take the lead. The result is an album that bridges past and present, memory and anticipation - where old melodies find new breath, and improvisation opens unexpected pathways.

“I wanted the entire experience to be more free-flowing, more playful, more adventurous than the usual cautious approach I take to composing,” Hans writes. “Rather than regretting where I’ve been or the paths that led nowhere, I’ve chosen to trust my Savior and strive toward the brightness ahead. Yesterday is gone - tomorrow is coming. How much better it is to pursue confidence and courage.”

That sense of spiritual renewal and creative surrender runs through every note. There is a tender humanness here - fragile piano phrases that pause as if mid-thought, ambient textures that drift like light across water, melodies that carry both ache and affirmation. Even the silences seem to speak, offering a kind of stillness that listens back.

Future Flowers is, in many ways, an album about release - about letting go of the weight of the past to make room for something more open, more alive. It celebrates the decision to move forward with faith and boldness, even when the path ahead is unclear. The music does not rush; it unfolds patiently, like petals opening in the sun - quiet gestures of trust and becoming.

Like its title suggests, Future Flowers invites us to believe in renewal - to tend to the unseen roots beneath our lives, trusting that beauty will bloom again in time.

In keeping with the spirit of the music, this release has been lovingly hand-assembled in a limited Fluid Audio edition, pairing Hans Nox’s compositions with bespoke artwork and tactile design. Natural textures, archival papers, and hand-numbered inserts bring a physical warmth to the experience - each copy a small act of devotion, crafted with the same care and intentionality that shaped the album itself.

Gentle, honest, and filled with quiet light, Future Flowers is not just a collection of songs - it’s a testament to resilience, to grace, and to the faith that something beautiful still lies ahead.

Music - Hans Nox
Mastering - Ian Hawgood
Design - Daniel Crossley

Hold Fast

11-1-25 (medusa)

loops

I wrote a song about one of my sewing machines, 
I'm a Singer songwriter. I kind of feel like the punchline got lost 
or maybe I did. 
....
Singer, Making the Cut

Finished
a 3000-yard spool
last night.
A small victory
in the long strange trip
of friction
and faith.
There's not a lot
of people to share this with,
So now it's here, 
Those new to sewing
 won't really relate,
those who've made more quilts
than I have clothes
passed this mile marker
probably without a pause.

Two years
of shake and rattle,
gears grinding. 
Plastic casing,
resonating 
each misstroke 
and bend. 

The box said
Making the Cut.
Back then,
reality TV
was dying slow—
all sequins,
no soul.

I watched a few,
out of curiosity,
hoping for guidance
or glamour,
something.
Instead it was all
panic,
chiffon,
tears in high definition.
Not one word
about overlocks.
No mention
of squinting,
flashlight in one hand
tweezers in the other,
poking thread
into the sketchy
little mechanism.

Somewhere
between yards and years,
I crossed a distance.
Didn’t know it
the spool gave out
thread slack,
like a horizon
finally reached.
I sat still,
needles unbroken,
looking into
that hollow core.
A plastic portal.
Like in The 13th Floor,
when he drives
past the city limits,
and the world
just stops.
No sky.
No script.
Just hum.
Too dramatic?
Maybe.

I can't help it
I’m a Singer songwriter.





Singer Making the Cut 11 14 25

Bambino: One shop destroyed. Three heads split like overripe melons. One man wounded and one castrated. All in two hours. Just two hours I left you alone. Two hours.
Trinity: Well, you asked me to give you a hand.

Ambient electronic music propject based on 4-tracks cassette tape loops and live dubbing.

Focusing on experimental genres, we aim to provide a space to share in the creative process and spread the experience of inner exploration through musical expression.

Manchester based electronic musician, creating whatever feels right at the time.

New tracks tagged #Tape Loop