Name: Eclectic current – Behind the Circus Dream by Tuonela
Duration: 2 h

Daniel Lanois has a great guitartone. I likes his work

“We sense that ‘normal’ isn’t coming back, that we are being born into a new normal: a new kind of society, a new relationship to the earth, a new experience of being human.”   ― Charles Eisenstein

Track list:
Daniel Lanois – Sketches
Jonathan Kawchuk – Overhang / Lagos
Eugene Hammond's Ramshackle Black Packard – Of Symptoms and Waves
Alessandro Cortini & Lawrence English – Immediate Horizon 5
Cindytalk – The Spirit Behind The Circus Dream
Angostura Elwar – The day aint the same without the sun
Ichtyor Tides – Sath Eart Transmission
tourmaline hum – 42 Diseases
Clock DVA – Primal Eroticism
Mike Patton – Calculus of Finite Differences
James Hill, Rudy Ensueno & Marco Lucchi – I am black as if bereav’d of light
Deutsch Nepal – Faint Retard
Helen Money – Beautiful Friends
Common Eider, King Eider – Talking Ravens, Rotting Figs
Peter Christopherson – In My Head a Crystal Sphere of Heavy Fluid
Lustmord – Plateau (excerpt)
Rashad Becker – Themes V
Synthetic Aurality – Alone With My Demons
Ross Wallace Chait – Find Your Beach
Saffronkeira + Mario Massa – Variazione
zheimeer – nineteen twenty (Part 2) (excerpt)
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Eclectic current – Behind the Circus Dream

Artist Picture. Jesse Kanda & Doon Kanda
Art Cover Editor. Shyntwirl
PROD. Shyntwirl
Ambient / Atmosphere / Birds 
Birds Sounds Editor. Shyntwirl
Sample 1 - Oiseaux du Venezuela - By Jean C. Roché.
Sample 2 - Björk - Arpeggio.
inspired by Björk's Utopia Album.
Shyntwirl, Jesse Kanda - Doon Kanda, Jean C. Roché & Björk. 

Shyntwirl - Birds (Interlude PROD. Shyntwirl)

A collaboration with @alanblip and @rabmusiclab. Thank you both :)
More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Droning Sheep {with Alanblip & RabMusicLab(disquiet0638)

Thank you @AlvaroDeCampos and @blisterpop. Wonderful track you gave me to work one.
As was the case last week, the instructions for this week’s project are fairly detailed, so please read them at disquiet.com/0638 15 (rather than me stuffing them into a post here).

This is the third phase of a three-phase sequence over the course of as many weeks during which, consecutively and asynchronously, musicians build trios together.

You can participate in any or all three of the three projects. If you participated in last week’s project, please note these two things:

    be sure to set your track as downloadable
    to avoid bot issues on Soundcloud, make sure its license is set to allow creative reuse

Also important: In normal circumstances, Junto projects have a one-track-per-participant limit. However, as with the preceding project that led up to this one, you can contribute more than one track this week. The details on that are in Step 5 of the project instructions 9.

This post popped up at disquiet.com/0638 9 (thanks, powers of automation) shortly after 12:10am Pacific Time on Thursday, March 21. (I was asleep at the time.) The email containing those instructions went out around the same time, also automatically, via juntoletter.disquiet.com. (We recently switched over from TinyLetter, because TinyLetter was shut down by its owner, Mailchimp, at the end of last month.) Come morning, after I woke up, I posted the instructions here, and at my Mastodon account, plus Bluesky, Threads, and Instagram, etc. And if you’re on a platform, like Mastodon or Instagram, that uses hashtags, please use the #DisquietJunto tag. Much appreciated.

Six variations in a knot (with @AlvaroDeCampos and @blisterpop) - disquiet0638

29Mar24

My Naviarkaiku534 track;
https://naviarlab.tumblr.com/post/746205559437557760/naviarhaiku534-pre-dawn-inertia
:D

Pre-dawn inertia [naviarkaiku534]

2024-04-05

Moods

You promised the world with the look in your eye
You gave me few words and I wondered why
You kept me close but far from touch
I knew I cared far too much

‘Dance little man
And play my silly games
I said I was a fan
Though I didn’t prove my claims
I might of liked a tune or two
Perhaps I even liked you
But I thought you knew
It’s just a thing that I do’

I hoped in my heart
That when push came to shove
That I would be your sun
And you would be my love.

Dance Little Man

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

Kiko, Le Renard Des Neiges.

Choirs Of Country (Mastered With Aurora At 100pct)

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

Marco Lucchi & Henrik Meierkord - The Scripture Of The Golden Eternity

Reality Drifts

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

Eclectic current – Behind the Circus Dream

Tuonela

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