"Neon Shadows" is a musical expedition that breaks the boundaries of different genres and creates a dark, futuristic soundscape

Neon Shadows

Neon Shadows prod. and Composed by Nomax

method: mostly stylophone sounds, heavily processed ... and voice
narration: portrait of a timid person
image: copyright jo richter

poem / copyright jo richter:

nein, so häufig spricht er nicht
wenn andermund voll meinung ist
es ist eher so: er wundert sich
wie leicht sich wort von lippen löst

sich aus zusammenhang losbricht
und stolz darauf besteht, zurecht
im wahrheitslicht zu leuchten
als sei es nicht gewalt, die hier geschieht

es wirkt bedachtsam, wie sein blick
von sprecher hin zu sprecher schweift
als sehe er ein etwas, das nur er begreift

dies ist das du, das sich in willkür
zeigt, das zugehörigkeit performt
 aus leere und in nichts geformt

interlinear translation: timid // no, he does not speak that often / when others are full of themselves / it's rather like he is astonished / how easily those words and lips depart // how easily those words break free from context / insisting proudly / to rightly shine in the light of truth / as though it wasn't violence he sees first hand // it appears considerate, how his eyes / move from speaker to speaker / as though he saw something only he realizes // this is the you arbitrarily showing / performing belonging / shaped into emptiness out of nothing at all

scheu

Au royaume des grenouilles

MASTERED BY TEA ARE SEA - thank you, Terry, for resuscitating these sounds!  https://soundcloud.com/tea_are_sea

method: contact mics into t resonator, reface dx, vt 4, voice, zoom r 20, samplitude, audacity - and asking Terry of Tea Are Sea to save the day - which he kindly did. 
narration: the poem is some four to five years old and published in one of my private collections …. nondescript places can also combine with, arrange, adjust experience … sympoetic localities ….
image: copyright jo richter

poem / copyright jo richter:

dort, wo sie oft weilt,
sieht sie blind. sie fühlt nicht
wie die, die unvertraut
mit den hier lauernden impulsen
sind, denen die marmorierung
dieser erstarrung, dieses verfalls
noch nie ihr außen-ich bot.
sie er-
hält sich, fasst sich, nun, da es leer ist, weil

alles schon da war, stets,
als bleibe auch sie sich
gleich, als
strömten nicht neue namen unheimlich
durch sie,
mit jedem molekül atemluft, smartphonegeläut,
imbissgeruch. die menschen hier aber
sind immobiler als die gebäude, so
wirkt es
ihr. in den fugen nisten die spinnen, wie immer
wenn sich etwas regt - unwillkürlich und außer dem takt
stürmt es bei den antipoden.

interlinear version:

cast replica // in places she often stays at / she is blind. she does not sense / like those not familiar with / the impulses stalking / here, to whom the marbling / of this torpor, this decrepitude / has never shown its outside-I. / she keeps / herself up, her countenance, now, that id‘s empty, for // everything has already been around, ever, / as though she remained / the same , as / though unnamed names were not streaming eerily / through her / with each and every molecule of breath, of smartphone ringing, / of the smell of take-away food. people here, however, / are less mobile than the buildings that‘s / what it appears to be like / to her. the spaces in between have spiders nesting, as usual / when something moves – unintentionally and out of timing / storms are brewing where antipodeans live //

abguss - mastered by Tea Are Sea

method: looping, layering, lapsus - the three L's - and a clock moving slower than time
narration: the poem closing my collection auslegpapier (2020)
image: copyright jo richter

poem / copyright jo richter:

nach dem auslegen
betrachtet der kunde
den teppich, achtet auf
muster, webweisen

interlinear translation:
interpretation // after placing it  / the client looks at / the carpet, focusses / on patterns, weaves

ausleg

method: sound sources (field recording, flute and jazz drums vst, voice) and recording and morphing devices (zoom H2, behringer swing, samplitude)
narration: the cycle ON PRINTING deals with projection, representation and the like. it consists of six poems: rubble - horse - relic - spawn - banner- offset. this poem sonified is horse and horse alone.
image: copyright jo richter
Poem (as published in
A Single Loop of Fortunes) /
copyright jo richter:


their fingers touched the stone
and they felt the horse within:
this is horse-stone, their fingertips agreed

their eyes touched the clay
and they felt the horse within:
this is horse-clay, their views agreed

their fingers melted stone and clay
following the shapes without:
this is a horse-place, their minds agreed

you feel them rear and neigh
when you approach through the dark:
this is a horse-place, the cavern agreed

modern man wonders, awed
by the image where never a horse did roam:
is this art or an ancient act of ancient creed?

horse

horse - on printing 2/6

info: I re-replaced the soundcloud-mastered track (which was far too slick) with the gritty, under-produced and more lo-fi original (in which the birds sound more like themselves, at least)

https://www.dw.com/en/southern-germany-hit-by-catastrophic-flooding/a-69239541

method: today‘s field recording (near river Schussen with rain dripping on the umbrella that shielded my recording device) , voice, bandoneon
narration: flooding
image: today‘s flooding of the Schussen – you can hear bells ringing across open space from the village steeple of Eriskirch to your left, copyright jo richter

poem / copyright jo richter:

der regen kam und blieb

selbst die gummistiefel der
bauern – und die bäche – wer
könnte nehmen, all das
nehmen – weg-
gespült, einfach fort-
gespült, die gummistiefel

(viel zu wuchtig an
schlanken reiherbeinen)

eltern setzen ihre kinder
in körbe – die alten
dürfen nicht sterben (wer
könnte bei dieser erde 
ein grab ausheben)

es ist noch nicht ganz sommer
(und irgendwo, in irgend-
einem ozean, wird ein winziger
walfisch geboren)

der regen aber blieb und blieb

interlinear translation:

flooding // rain came to stay // even the wellies of the / farmers – and the brooks – who / could have taken, have taken / all this -  up- / rooted, simply washed / away, the wellies // (far to bulky for / skinny heron legs) // parents placing their children / in baskets – the elderly / are not allowed to die ( for who / could dig a grave in / heavy earth ) // it is not fully summer yet / (and somewhere, in  / some ocean  a wee whale / is being born) // rain, however, stayed to stay //

hochwasser

method: several pedals, voice, guitar, minilogue xd
narration: an obituary for a novel I had written some time ago - you know it has become obsolete when you have passed the point at which you would have promote it even if there was a publishing house with an interest 
image: the cover of the novel that never saw the dark of print
no lyrics for this one - just some distorted fragments of the very first and the very last paragraph of the finished novel named Kiva

Kiva - Nachruf auf einen Roman

method: some old, some new devices, experimenting
narration: an older poem on one of the muses
image: copyright jo richter

poem / copyright jo richter

halte mich, stille, als hielte ich still
kondensstreifengitter und gassen
gegossen in glas, traummolassen
schleifen die stadt als hielte sie still
bereit, die kunst in form zu fassen

interlinear translation: erato // hold me tight, silence, as though I was holding my own / grids made of contrails and alleys / cast in obsidian glas, dream molasses / raze the place as though it knew no defence / and as though she was inclined to give shape to art

erato

method: vst in samplitude and audacity, voice
narration; another dada poem, quite a sad one
image: copyright jo richter

poem / copyright jo richter:

das fuchshuhn
frißt sich selber auf
als hätt's in diesem lebenslauf
nicht anderes zu run

[Zusatz aus bekannter Quelle: 'O Freunde, nicht diese Töne!']
interlinear translation: the chicken-fox / feegs on itself / as though there was nothing else to do / in this course of life [addition from a classical source: 'Oh friends, not this despair!']

das fuchshuhn

das fuchshuhn - noch ein dadagedidicht

Composer Contemporary Music

Sibylle Pomorin (*1956) studied from 1975 until 1980 flute and saxophone at the Staatliche Hochschule für Musik in Münster, Germany. 

In 1984/85, she studied composition under Ernst Bechert in Hamburg, Germany and in 1994, she received composition lessons and an introduction to electroacoustic music from the American composer and electronic musician Alice Shields during a six-month stay in New York. 

Between 1982 and 1994 she toured with improvising musicians of the international scene and toured with her own groups and compositions through Europe and Israel. 

She received composition commissions for ensembles, festivals, broadcasting, and theatre as well as numerous prices and awards and was promoted by various working scholarships – inter alia in New York, Istanbul and Iceland. Scores publications and CD releases inter alia by Moers Music and in the Furore Verlag. 

Her music has been performed at international festivals for contemporary music in Europe, Israel, Mexico, Australia, Canada, Georgia, Japan and the USA.

I'm 26 years old and I compose\ produce Orchestral Film type music but I've never had any training or lessons in the field - I've had to teach myself everything. I hope you like it, Nomax

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, as well as an amazing version by cthonicist.  You'll find both 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, REPOSTS and FOLLOWS:
I like what I like and want to hear again.
I only repost what I've had a hand in creating.
I follow when I see directions or arrivals I like, not when followed (though I might peek in to get an idea of what your sounds are about). I have set myself a limit of accounts I follow not to be all too overwhelmed. Not following does therefore not mean I do not appreciate what you contribute to the enjoyments of soundcloud.
Do not expect other behaviour from me.
(jo richter)

New tracks tagged #klanglandschaft