I can feel the night sky and the forest :)

feels like in a trailer which shows what natural comes after destruction.

For the next interpretation of Far Blue, we have Belgium's Kim Kenis who has carefully weaved together a selection of tracks that represents a more clubby perspective of the concept. Recollecting dance moves. The podcast was made so you could move, as the set was recorded on Kim's home setup when she came back from a night out in Amsterdam. The mood was there, the flow as well. 

We are very much looking forward to having Kim and her flow over on the 24th of May for Pintai x Far Blue at Borisov, but for now we'll be enjoying this glimpse of what's to come.

'Never stop moving'

ᐁ ᐁ ᐁ ᐁ ᐁ ᐁ 
@kimkenis

Instagram.com/farblue_ 
Facebook.com/farblueconcept

A Far Blue concept by Kim Kenis - 'Philosophic Paraphrases'

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

Marco Lucchi & Henrik Meierkord - La Bestia Umana

From the album "Valley of Languages"

https://whitelabrecs.bandcamp.com/album/valley-of-languages

Xu & Francis Gri "Ghost Hills"

Tapasyā

Burn Out

Au Sortir Du Bois

I made this track using samples taken from previous tracks all built in csound. The samples were extracted at various speeds and accordingly to the position in which they were located in the respective tracks, the mixing was carried out with audacity.
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More on the 647th weekly Disquiet Junto project, Day Drone — The Assignment: Make some daylight drones for Drone Day — at https://disquiet.com/0647/

The original image associated with this project is by Guillaume Pelletier, used with a CC BY-SA 4.0 license.

https://commons.wikimedia.org/wiki/File:Drone_bee_(32-image_macro_stack).jpg

https://creativecommons.org/licenses/by-sa/4.0/deed.en

Dryad One - Disquiet0647

All In Stipple

Video;
https://youtu.be/esXzz50j9I4

https://hega.bandcamp.com/album/life-therapy

Made in #Ableton (May 2024)

Genres;
#Ambient
#Ethno
#Experimental
#Electronic

Life Therapy

Nights Without Stars

Andrea Castiglioni: a musician from Italy, with his guitar,some effect and his emotions

Wheat Fields Forever

 Music is what language would love to be if it could

Nights Without Stars

Andrea Castiglioni

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