Midnight Resistance - Serenity

Written and produced by Nico Frank @ Echosphere Studio. Artwork by Invispect Visuals.

Digital Track : Midnight Resistance - Serenity https://midnightresistance.bandcamp.com/track/serenity

https://music.apple.com/se/album/serenity-single/1571148355

https://www.amazon.de/-/en/Midnight-Resistance/dp/B0968Q38CV/ref=sr_1_1?dchild=1&keywords=Midnight+Resistance+Serenity&qid=1623363429&sr=8-1

2021/ Echosphere Records

Midnight Resistance : http://www.midnightresistance.de/midnightresistance.de/Home.html

https://www.facebook.com/midnightresistance.official/

https://midnightresistance.bandcamp.com/

https://soundcloud.com/midnight-resistance

https://www.youtube.com/c/Midnight-resistanceDe/featured

Midnight Resistance, Discogs : https://www.discogs.com/artist/1133093-Midnight-Resistance

Midnight Resistance - Serenity

A hotly contested, supposedly ancient manuscript suggests Christ was married. But believing its origin story—a real-life Da Vinci Code, involving a Harvard professor, a onetime Florida pornographer, and an escape from East Germany—requires a big leap of faith.

The Unbelievable Tale of Jesus' Wife - The Atlantic - Ariel Sabar

"No republic is safe that tolerates a privileged class, or denies to any of its citizens equal rights and equal means to maintain them."

Reconstruction - The Atlantic - Frederick Douglass

In 2050 the world population will be 10 billion. Can everyone eat without destroying the Earth?

How Will We Feed the New Global Middle Class? - The Atlantic - Charles C. Mann

A prominent evangelical writer explains how his movement lost its way and fell hard for Donald Trump.

The Last Temptation - Michael Gerson - The Atlantic

A long-running inferiority complex, vast statutory power, a chilling new directive from the top—inside America’s unfolding immigration tragedy.

How ICE Went Rogue - The Atlantic - Franklin Foer

The work is in two movements - Fraying and Prolonged. The first presents a sonic object that gradually disintegrates. The second reframes this object and slows it down, so that the process of decay is frozen, and the object appears almost immortal. The work grew out of reflections on 1 Corinthians 15 and Jiang Zhi's Love Letters (2014). In Jiang Zhi's photographs, flowers are on fire, but are not harmed by the flames.

Alto Flute - Isobel Doughty
Oboe - Caitlin Heathcote
Clarinet in B flat 1 - Heather Ryall
Clarinet in B flat 2 - Julia Raga Pascual
Horn in F - Karen Starkman
Trumpet in B flat 1 - Catherine Pollit
Trumpet in B flat 2 - Thomas Thornton
Tenor trombone 1 - Samuel Dye
Tenor trombone 2 - Jake Jones
Harp - Teresa Raff
Piano - Ábel Misha Gille Esbenshade
Violin 1 - Kanon Miyashita, Tilman Fleig, Yuriko Matsuda, Zora Orfgen
Violin 2 - Camille Saïd, Anastasia Egorova Wise, Zoe Hodi
Viola - Michaela Bartošová, Jeremy Tonelli-Sippel
Violoncello - Lucy Neil, Pieter-Jan De Smet
Double bass - Jess Martin, Cole Morrison
Conductor - James Hoyle

Recorded in October 2018.

Reframe (2017)

This underwater recording highlights the hive of activity in the coral reef just off the beach in Amarynthos, Euboea, Greece. The recording was made mid afternoon, with the hydrophones placed on the reef bed at a shallow depth of around 1.5 metres. The reef is in good health with a beautiful ecosystem of coral and sea life. Amongst the sound we hear the sound of Pistol Shrimps that use their claws to shoot a bubble bullet to stun their prey. There are also reef cleaner fish as well as the sounds of the coral itself. 

Thanks to Jez Riley French for help identifying some of the species.

Sound Devices Mix Pre 6 + 2 x JRF D-Series Hydrophones
Recorded 18.07.2019

Coral Reef - South Euboean Gulf, Greece

vertikal

This has been a stormy fall, and in Finland has been already 40 days with stormy wind speeds as the average is 27 a year.  A small, but intense low pressure passed over creating wind speeds up to 31,3 m/s in the gusts and 27 m/s as average. 

I couldn’t resist recording this storm just in our backyard as it was evident when I opened the front door in the morning that this wind is going to make damage. (The picture)

Recording storms creates mostly undefined white noise that’s not very pleasant to listen. But it seems, that when the wind gets hard enough, there occurs (more or less) strange noise patterns with regular shapes that can make it sound interesting. 

In situ I could hear cars passing and chainsaws running.  I hope there’s a bit of this weird noise left in this recording, at least when listening with headphones.

And yes, when the gusts were as strongest, two trees come down. One pine on the roof of our neighbors sauna building 6.50 and an other one with the tree trunk breaking 8.28 

(MKH8020 ab80cm, SD702, nothing done in edit, 24/48 flac)

Jan Eerala Finland

Storm in my Backyard - 19/11/2020 - Makholma Finland

What a strange, odd, mixed-up year it has been.  The yellow spanner of Covid-19 really wrecked a lot of plans. I was all booked to travel to Estonia to record, but it had to be cancelled.   Very noticeable was the sunlight, perhaps it was because there was few jet trails, but when the day was cloudless the sunlight could be absolutely dazzling, it had the strange effect of making it feel like we were living in paradise.     Because of the restrictions I am so glad the woods is only within a moderate cycle distance from my home.  I am very fortunate that I have two fairly good places to record relatively close by.  I even found a wild sand dune area not even five kilometers away,  I hope to record more there in the future.   Disc 1 track 2 is from a much longer recording, it is probably one of the best recordings made during the 2020 season, I had made a few recordings, near the stream, then a bit less close, then a bit further away and another even further away, as I wanted a sound where the stream was a suggestion rather than really dominating the sound picture.  The Blue Tits nested in a cavity block in the wall of my home, there is an vent on the inside of the block, so I only needed to place the microphone up to that to get a fantastic close perspective recording.  
I include two recordings of the Blue tits as they sounded so different when I recorded them a week later.  Sometimes I would get great results by leaving the old Marantz recorder hidden in a bushy place while I go not too far away to record with the new recorder, I love how I had no idea of what it has captured for me, only later when the track loaded on the computer did I get to see if it captured anything worthwhile.  This was the case with Blackbird - alarm calls (Track 3 on disc 2).  I think the peaks came in at about minus six db.  This year was my first time to use Contact microphones and a Hydrophone.    
At the beginning of April my dad Desmond died, he was 89, a great age.  Apart from Covid, we could see he wasn’t going to live much longer, he had been deteriorating noticeably for months up to that.  Why then are the covers for the two discs so strange ?  
A birdsong production should have birds on it !   My dad was big into sun power and indeed wind power even long before it became popular.  Over by my workshop he had placed a few sun power panels on the wall, these were wired into a small room to a panel on the wall with six switches.  I thought it a good way to remember him by including a picture of part of his panel for disc one front cover.  I was going to include the six switches in the picture, but my heart of hearts said no, it didn’t look good, too much scruffy brown, but I include it in the zipped folder (If you are buying it on Bandcamp)so you can see what I am talking about.  I had almost chosen it, as it occurred to me one morning that the six switches are like the levels of lockdown (I hate that term, but I have to use it here) thankfully we didn’t have a level six, maybe that is like in a movie I saw where the authorities came and boarded up a house with the people still inside.  In the end I used the part of the photo with the meter.   
The butterflies . . . Dessie we call him, was always interested in butterflies, that is where I got my interest in nature, as a child he used to bring us for walks up along the canal to see the wild flowers and butterflies.  The picture comes from one drawer of his small collection of Irish butterflies he put together maybe around the late 1940’s or 1950’s ??  Very few of them are even in one piece now, this drawer just looked the part, it was all mixed up and spoiled like the year had been, the summer we never really had, at least not the way we wanted or had planned it.

How Will We Feed the New Global Middle Class? - The Atlantic - Charles C. Mann

TheAtlantic