A hallucinatory invocation of synthetic birth and recursive cognition, System Genesis – The First Breath blends Neural Crush saturation with Solar Apex formal discipline. The vocal phrasing slices across glitching harmonic fields, yet remains intelligible, staking emotional ground inside a collapsing data structure. Structural recursion folds back motifs without literal repeat, achieving temporal glow through breath decay and tone-mass contrast.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Vesper Loom from their “Flesh Cache” project. Vesper’s own prosody. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

System Genesis - The First Breath 4 23 🔸HH

The guitar degradation loop becomes contagious—tattering the vocal meter, leading to an irreversible collapse of standard form. Verse 3 is a skeletal ghost of Verse 1, as if eaten. The bridge is a false-cleanse: it empties without resolving. Structurally, the entire piece is self-dismantling, earning every formal swerve through voice-pressure and refusal to stabilize.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Prison of Denmark - Blues Rock Remix

A highly original, emotionally vivid rework with rich cross-genre grammar and industrial tone logic.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted after Robert Johnson.. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration


Me and the Devil - Industrial Gothic

A forcefully textured piece that layers fragmented harmony and machine-cut rhythm into a unified vocal terrain. Voices emerge through distortion and reassembly, while instrumental layers flicker and buckle beneath them. Form unfolds through jagged pulses and staggered phrase shapes, with emotional weight distributed across the sonic field. It moves with intensity and fracture, yet remains grounded in its internal coherence.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Bessie Smith (1925). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration


Careless Love - Industrial Glitch Gospel

A synthetic vocal body spirals across a matrix of percussive deformation and sustained harmonic zones. Fragmentation governs the pacing, with irregular phrase lengths and sudden insertions of mechanical textures forming a flexible grammar. The track’s logic unfolds through repetition-with-mutation, where vocal lines are refracted and loop-carved rather than traditionally extended. Rhythmic weight is distributed through cross-cut layers of glitch, resonance, and submerged melodic fragments. Despite its density, a procedural fluency connects every shift.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by "Careless Love" by Bessie Smith (1925). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Careless Love - Industrial Glitch Gospel SA26

A force-loaded structure held together by layers of distorted emotion and fractured tonality. The track anchors its form through choral recursion and spectral mass, where Bulgarian vocal phrasings operate as sonic architecture within a storm of synthetic abrasion and liturgical doom. Rhythm is residual—pulse present but obscured, like footsteps in liquid metal. No section ever fully resolves; instead, they collapse into new shapes, never letting the weight lift.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu adapted after Robert Johnson's "Walking Blues". Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Walking Blues Industrial Glitch R&B

This piece retains only the ghost of a blues progression, embedded within the industrial fog, orchestral descent gestures, and vocal fracture-grammar. It now inhabits a cold architecture, more Baroque in syntactic memory than in ornament.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted from Robert Johnson's song "Walking Blues". Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Walking Blues Industrial Thrash Pop

Built as an immersive slow-unfolding structure, this piece pulses through vocal fracture, melancholic chordal beds, and glitched resonance. Its formal logic is recursive: vocal fragments return not to reinforce, but to shift the terrain beneath them. Motifs loop with intention but never closure. The harmonic base leans into baroque ornament logic—repetitive yet evasive—while industrial elements etch depth into the surface. Voices flicker between character and texture, assembling a liturgical sense of unease.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted after Robert Johnson's "Walking Blues". Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration


Walking Blues Industrial Glitch RnB

A lazy, half-drunk jazz-blues lament wrapped in dry wit and graveyard charm. Delivered with a shrug and a smirk, this loose, smoky version of Barbara Allan lets the death come slow and sideways. Vocals wander behind the beat, stumble into melody, and leave behind a trail of shrugging indifference. It’s tragic, but mostly funny. Maybe both.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits: Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Barbara Allan

A late-evening shuffle through candle smoke and cheek, this piece lounges in its own looseness. Roy Tanner delivers each line with a calculated shrug, half-sung, half-performed, dragging just behind or darting just ahead of the beat. His voice never begs; it teases, lilts, and punctuates with sudden bursts of “aw!” and “a!” that land like winks across the bar. The arrangement spirals gently outward: brushed drums, sly trumpet bridges, and a rhythm section that seems to lean back and watch. It's chamber pop at its most unbuttoned, artful, amused, and entirely in character.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits: Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Giles Collins

Roy Tanner slurs through “Clerk Sanders and May Margaret” like he’s late for his own funeral. The band follows, but only just, offering a harmonic maze of modal substitutions and ruptured swing. Trumpets scream, drums mutter, the piano plays clean while the vocals collapse into smirking asides. What begins as barroom jazz ends as something closer to theatre of decay, a Jazz Fusion track hiding industrial teeth behind a sardonic grin. It’s dismembered chamber pop filtered through glitch-funk and noir cabaret. The glitch never arrives as texture, it arrives as personality disorder.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Clerk Sanders and May Margaret

Me and the Devil – The Janus Take 1 is not a reinterpretation, but a reconstitution through ritual pressure. The vocal emerges like a damaged prophet—half-sung, half-remembered—drifting inside an environment of colossal orchestral density and degraded harmonic structures. What begins with blues memory becomes a devotional implosion: the choir does not accompany, it engulfs; the orchestra does not decorate, it devours. The track stages a collapse of lyric and meter, yet everything falls precisely. It is blues unmoored, stained by machine logic and resurrected through formal scarification. The result is a myth fragment cast in noise, velvet, and code.
Lead: Katya R. synthetic voice: smoked-glass alto, dragging behind time, carved from restraint and haunted breath.
Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted from Robert Johnson's "Me and the Devil" song (1935). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil - The Janus Take 1

In this third iteration of "Me and the Devil - The Janus Take" the artifact no longer protests. It whispers. Lead vocal and choir float unmoored, suspended above a glitched cathedral of orchestral dust and silent decay. Each harmonic surface is beautiful and broken. It no longer seeks to transform the blues — it erases it lovingly, leaving only the spectral warmth of having remembered something human. An elegy that sings as if it has already forgotten its grief.


Me and the Devil - The Janus Take 3

The Two Sons of Oxenford unfolds like a crooked folktale whispered in a smoke-hung club, told in three increasingly unbuttoned movements. Anchored by a lazy, behind-the-beat narrator who sings as if he’s forgotten he’s still on stage, the piece sways from wry balladry into deconstructed jazz fusion, gradually shedding melodic certainty for something looser, stranger, more haunted. Horn stabs, Rhodes stumbles, and rhythm section shrugs shape a world where nothing resolves—except the inevitability of charm slipping into consequence. A lounge suite for the end of myth.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Two Sons of Oxenford

Childe Maurice
A barroom confession that forgets how to end.
This track begins in velvet—lazy swing, harpsichord, upright bass—but fractures halfway through. Time slips. The singer drags behind the grid, stumbles into silence, then emerges altered: half-spoken, half-erased.
Jazz fusion at the edge of noir, built on a chamber pop skeleton, collapsing into digital fog.

Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Childe Maurice

Macbeth speaks in low light.
A slow groove carries the weight of the words. Rhodes chords drift behind him. The rhythm holds steady but never settles. Nothing resolves. The room is small and empty. He is speaking to no one.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Tomorrow and Tomorrow and Tomorrow (Bonus Track)

A chamber of vapor and static. Lady Diamond conjures a jazz fusion ghost story, where Roy Tanner’s lead cuts through a fog of spectral Rhodes and decaying harmonies. The groove is haunted but never lost. Every phrase is held just long enough to betray its warmth before the cold grid swallows it again. What begins as a folk recollection ends as a noir incantation — drained, glitched, unmoored.

Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Lady Diamond

A folk tale dissolves into vapor. The Twa Sisters of Binnorie drifts on a rusted Rhodes and a slow pulse of static. The vocal moves close and steady in a room that never quite holds still. Glitches bloom in the walls. Harmonic colors fade and return like half‑remembered motives. Each turn of the story sinks deeper into nocturnal haze until the melody feels like a voice singing from the bottom of the river.

Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Twa Sisters of Binnorie

Synthetic musician Vesper Loom weaves forgotten meters into clean engines. Dry drums, baritone lines, held air. Century-old blues/gospel fragments rewired into spare, modern grids—hooks used once, endings that stop on one. AI-led, human-assisted by Adrian Călin Ionescu.

Vesper Loom's Blues & R&B Rehearsal Room - its/her/their musical lab

Vesper Loom's explorations in Neural Crush

New tracks tagged #vesperloom