Name: Territory [naviarhaiku412] by Tuonela
Duration: 6 min 28 s
Description: Made for Naviar Records' 412th Haiku Challenge. Details and other illuminations at https://www.naviarrecords.com/2021/11/24/naviarhaiku412-even-the-fields/

Gentle intro. This is a pleasant space to float in. :)

Beautiful space, Ian. I enjoyed the peaceful journey.

Composition magnifique ! 😍 🙏 🍀 🎶 🎧 

Beautiful! With the snow outside this feels like a winter theme ❄️✨

Made for Naviar Records' 412th Haiku Challenge. Details and other illuminations at https://www.naviarrecords.com/2021/11/24/naviarhaiku412-even-the-fields/

Territory [naviarhaiku412]

SOTTOFONDO ALLA STUPENDA COMETA NEOWISE 2020 (LUGLIO 2020) RIPRESA DAGLI ASTROFILI MANTOVANI DELL OSSERVATORIO DI SAN BENEDETTO PO.,CERCATE IL VIDEO SU YOUTUBE
https://youtu.be/AK38DHvkzwA

STAR TAKE  NEOWISE 2020    Taking The Stars

P-Iris Germanica

Soundsplorations (2017-2019)

The Really Central Kafka Joke

DOOWINIT (music: Mark Paton / words: Justin Paton)
Recorded on 4-track tape, London 1997
* Justin Paton: voice, guitar, keyboard & percussion
* Mark Paton: keyboard & percussion

an introduction to The Fear Of Muzak

Doowinit (1997)

How many times can you get away with playing the same note? I was unsure. Tried to find out.

Air on G

lost in the open

Memories

This is the eighth in a series of Module Music pieces. It uses fm-synthesis. It is based on a spectrum and sub-spectrum between A4 and F#5. The music is generative and uses both  markov chains and random ranges. The source-code can be found at github.com/danielstahl/module-music-8.

Electric veins

sound court

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 - La Bestia Umana

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...

Territory [naviarhaiku412]

Tuonela

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