From the EP Friedhof 2022.
Lyrics:

Seele
Schwerelos, einfach schwerelos, gedankenfrei, einfach frei. 
Die Wolken ziehen vorbei.
Einfach frei im Raum, ist das ein Traum?
Tiefe Hypnose, tiefe Hypnose.
Ich bin federleicht, federleicht.
Lass die Seele frei, lass die Seele frei, grenzenlos.
Tiefe Hypnose, tiefe Hypnose.
Lass die Seele frei, grenzenlos, federleicht.

Grenzenlos
Ist das ein Traum, ist das ein Traum?
Die Wolken ziehen vorbei.

Lass die Seele frei. 

Ich schlafe tief !
Ich schlafe tief !

Tiefe Hypnose, schlafe tief. Sei federleicht frei im Raum, gedankenfrei.
Tiefe Hypnose, sei federleicht.

Friedhof

Seele

Sacred Chamber

Goh Velin

This track draws inspiration from the rhythms and sounds of popular music from southern Italy (Neapolitan tammuriata and pizzica salentina) with electronic processing and recordings of voices and sounds from some Neapolitan markets.
The Laurieddhu is a mischievous elf from the folklore of southern Italy, in Naples he is known as Munaciello. He never appears during the day. Very similar and corresponding figures to this spirit are also found in other Italian regions or in the tradition of the Irish Leprechaun.

Laurieddhu

In the hushed serenity of winter's embrace, the ethereal melodies of the Melody of Broken Cake Plates gently weave a tapestry of mellow, soft, and melancholic snow songs. Born from a deep connection to the quiet beauty of winter landscapes, the Melody of Broken Cake Plates's music captures the essence of snowfall and the delicate dance of frost-kissed moments.

The essence of the Melody of Broken Cake Plates's sound lies in the delicate fusion of acoustic warmth and the crystalline purity of winter's touch. The hauntingly tender compositions invite listeners to immerse themselves in a world where time slows down, and every note is a snowflake gently settling on the soul.

The World Feels Empty

Operational Direction

Simon McCorry is a composer based in Gloucestershire creating music and sound design mainly for theatre and contemporary dance, working with companies such as Old Vic Productions, Tiata Fahodzi, House of Absolute, Javaad Alipoor Company & Fabula Collective. Simon is a cellist, often using the instrument in his work processed and combined with electronics, field recordings, and other instruments. His work has been described as “electro-orchestral drone-scapes of, by turns, gauzy intimacy and soaring grandeur” MOJO. He has recently collaborated with artists including Andrew Heath, anthéne, Requiem and, on this record, Wodwo.Wodwo is the alias of Derbyshire-based musician Ray Robinson.

An award-winning novelist and coveted screenwriter, Robinson's foray into the music world began in 2018, and his gentle ambient guitar and lush neo-classical compositions have quickly attracted a blossoming legion of fans. Ray also records as one half of JARR, alongside fellow Brit, Jon Attwood (Yellow6). Their albums have been released by Hush Hush Records and on the Sound in Silence imprint. Ray's solo output has appeared on NCTMMRN, Soundtracking The Void, Submarine Broadcasting Company and Fallow.

Every Creeping Thing is a celebration of mud and moss and slugs and bugs and roots and damp – songs of the forgotten, the small, the overlooked. A musical approach of letting things unfold and follow their path, passing material back and forth, leaving space and following a philosophy of less is more. A journey that evolved through coincidences, and shared interests in literature and the natural world – the music took its course, taking on its own life. 
 
Guitar, cello, and modular synth are played, processed, and recorded live. Nothing is sequenced or quantised, maintaining an organic breath-like quality flowing throughout the tracks. Through the music’s echoes, whisperings, creeks, calls, fluttering and murmurings – sometimes as walls of sound, often as spiderweb-fine textures – Every Creeping Thing invites the listener to immerse themselves in the intricate net of the beauty of the more-than-human world.

The cover art illustrates John Masefield's lines from The Everlasting Mercy: ‘A rushing comet, crackling, numbing the folk with fear of judgement coming.’ Taken from their collection, The Book of Comets, the artists Christopher Crouch and Cherish Marrington worked together to create something that would be a synthesis of their practices, but which would also propel them into new ways of thinking about representing their ideas. However, these illustrations are less about comets and more about the artists’ retreat into the imaginary.

The track titles for Every Creeping Thing are from Jacob Polley’s wonderful poetry collection, Jackself, which Ray happened to be reading at the time of this collaboration. As the album was coming together, he felt a real connection between the sometimes off-kilter, ‘organic’ music he and Simon were creating and Jacob’s collection. It felt as if they were inhabiting similar worlds: a world of frosty mornings, kidney-coloured pools, rosehips, and buzzards’ wings.

Credits:
Written and produced by Simon McCorry and Ray Robinson
Mastered by Simon McCorry
Art and design by Andrew Heath

The titles in this album are taken from the poetry collection ‘Jackself’ by Jacob Polley (Picador) and reproduced with kind permission.

The artwork is an illustration from ‘A Book of Comets’ by Christopher Crouch and Cherish Marrington, reproduced with kind permission.

Every Creeping Thing

wlr158 Simon McCorry & Wodwo - Every Creeping Thing

Sell Out

Shandu

Created on iPad with AUM, Nerd Synth, Sunrizer, Twin 3, SynthMaster 2, Axon 3, Skaka, Playbeat 3, Fugue Machine, Chord Jam, BLEASS Reverb, BLEASS filter, Yukawa, Kajita
Mixed and mastered with Cubase 13 and Ozone 10

Inspired by Naviar Haiku 537:
https://www.naviarrecords.com/naviarhaiku537-deep-in-the-mountains/

Photo by zenbytes (2024, Morvan, Burgundy, France)

mountain streams - Naviarhaiku 537

This is an edit of two half hour live jams performed 01.09.19. They were performed in one take using a live looping improvised approach, no overdubs, just a loose structure in my mind and making it up as I went along. This is part of my preparation for a performance at the Teesside Cyberpunk Convention in November (this doesn't represent a potential set, more experimenting with different approaches). I took my favorite parts and mixed them into a slightly tidier edit.

LA Streets, 2019 (Improvised Live Studio Session)

Original electronic music inspired by the sounds originating between circa 1972/ '82.
I mostly make music now by improvising it live, you can find a lot more of my work on YT.

LA Streets, 2019 (Improvised Live Studio Session)

The Rosen Corporation