Tutmonda's Findings| Mixtape 6

A compelling and evocative title, suggesting a moment of intense emotion, anticipation, or significance that resonates strongly. It captures the intensity and weight of a pivotal moment.

Longest Minute

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

A Warm And Golden October

We invite you to hear the 2nd of three album preview pieces.

“Practical guide to shamanism for young people”,
Is from the album “Above a Darkness of Earth.”

Paulo Chagas initiated this trio piece with his wind instrument part. Henry Koek added many sound textures in addition to his voice, I finished with percussion and my MaaTeeSaa1 sounds.

This piece continues the shamanist inspired tone of the album.

Hear and/or download the album from BandCamp: 
https://darkpebble-bluewave.bandcamp.com/album/above-a-darkness-of-earth

Enjoy!
Wilhelm Matthies

A practical guide to shamanism for young people

Akumu

Hård II

random thoughts bass clarinet/ interactive electronics (dobbo)

rt100625bc impx

Q-03  Auftakt

Landscape before the storm II.

This track was created for the Naviar Haiku group.
615
https://www.naviarrecords.com/naviarhaiku615-reminding-me-not-to-forget/

reminding me not to forget (Naviarhaiku 615)

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music

Rec.name : " Dance Music Vol 33 "
credit : ipad 9 ,digitakt 1

date : 16-10-2025
Part One :
https://trampelfad.bandcamp.com/track/whats-that-again

PLEASE VISIT OUR MAIN PAGE :

trampelfad.bandcamp.com
and
maxelzholz.bandcamp.com
Live 10/2025
https://www.youtube.com/watch?v=w3_yn4gVTek

Live 2024 :
https://www.youtube.com/watch?v=Y52VDBHP-cc
Robots 2015 :
https://www.youtube.com/watch?v=8DKtzLNZfvo

IRONBRIGDE 1779

Form is an exploration about how things take shape and slowly change. It paints a quiet, emotional journey — starting with the feeling of something coming to life, then slowly drifting into memory and fading away, time to let go.

Produced, mixed and mastered by Antony Gibson (Zen Lemon)
Cover picture by Antony Gibson
Cover design by Dionis Afonichev

Form

Pause Before

The only sound source here is my stratocaster with signal splitted to acoustic guitar soundhole magnetic pickup (which I played with my right hand as a pick/slide/ebow). Both signals went through Boss Line Selector, then some fuzz and for a short time my old Yamaha octaver. Last on the signal chain was Warm Audio Ring modulator which was mainly off. 

I composed a piece which has overlayered 1-3 tracks simultaniously. No post effects in DAW. For percussive parts and coda I played the springs of vibrato system. Those I miked with this magnetic acoustic guitar pickup.

The Burning Curiosity

https://tutmonda.bandcamp.com/follow_me
Tutmonda is an experimental music label whose main objective is to create a fusion of improvised and traditional sounds from different parts of the world. 

*We're right now working on collaborations with our soundcloud friends*

With the mission of promoting an inclusive and diverse sound mass, Tutmonda seeks to offer a space for artists from all corners of the globe to showcase their talent and creativity.

Our sonic wizards:

@joaomsousa
@joaoaclopesms
@zelencastre
@joerxworx
@henry-koek
@stevesoundcoombes
@dean-petrovski-44100126
@leonel-cardoso-104759319

Tutmonda's Findings| Mixtape 6

TUTMONDA