Secondo incontro con il brano di Marco Lucchi.
Cambio di metodologia: pezzo essenzialmente strumentale, con un continuo contrappunto al fluire del piano di Marco.

Strumentazione:

1) Contrabasso. Con arcata ampia e sostenuta, ideale bordone per la partitura sovrastante.
2) Calimba (molto riverberata) e mellotron. Sono i suoni armonico/percussivi che fanno da contrappunto costante al pianoforte principale.

Ideale allegoria di un passare nel chiaroscuro della luce, nella natura pura e incontaminata.



Paloma: 2009 - 13 10 2024. 
Vale.

13.10.2024  (R/R "soliloquy" by Marco Lucchi)

Inspired by the Naviar Records haiku challenge #564 by Natsume Sōseki

Fog clears away:
the waterfall shows up
bit by bit.

This haiku made me think of a quote by artist Cecil Collins, 
“I see a shape complete in itself I search it with my mind and heart and then it begins to extend and I see in the half darkness that it is part of a colossal structure whose parts are covered in mists and darkness, sections appear and disappear; how many years has it taken me to realize that those mists, clouds, and darkness are in myself, and in the body given to me by the fatal powers of the world; that in Reality everything exists as a whole; a vision, a harmony, a joy.”

Cascade Rhythms [naviarhaiku 564]

Chapter 1. - 11:10:24, 11.52 AM

sound art for disquiet0675.

Organ loops made with a broken casio and played through bone conduction speakers. The speakers were used to vibrate the mesh covering from an a/c fan. Extra layers of nail violin. All recorded with contact mics. No effects, just EQing.

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://disquiet.com/0675/

the mesh (disquiet0675)

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://disquiet.com/0675/

Live Drone (disquiet0675)

My contribution to Junto Project 0683 - https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

The first half of the track I wanted to capture the spaciousness and mystery of a cavernous space station – brutalist in design, surrounded by mist. The second half I wanted to take a deep dive into the inner workings of the station, where we hear the isolated clicks of machines and robots discussing the work being done.

disquiet0683

Inspired by Naviar Haiku 584:
https://www.naviarrecords.com/naviarhaiku584-heaven-and-earth/
Thanks to Marco Alessi from Naviar Records for the weekly challenge!
Photo by zenbytes (Germany, 2018)

snow fluttering down - Naviarhaiku584

Thurlasios_03.02

This week's task is rather serendipitous in that I am actually engaged in some minor wood working this weekend. I recently built a small Buchla 100 system (and its case), consisting of what is shown in the image and the as yet unhoused (and not shown) 114 touch control module, which is what the piece of unstained pine sitting on top of the Buchla is destined for. I selected pine because my woodworking skills are still rather rudimentary so working with higher priced and more difficult lumber makes me nervous. Plus, there is something comforting about pine's ubiquity and approachability. Making a mistake with pine seems excusable. Doing so with walnut or oak less so. That said, I got to thinking about the pine that I picked up at my local lumber shop in terms of the conditions under which it is grown and the vast quantities of trees that are stripped from the land so that people like me can make boxes for their vintage synthesizers. Sonically, I imagined this as a somewhat discordant drone, with peaks and valleys and occasional moments of harmony. The trees grow, mainly in a state or quietude, before they are cut down and processed to the sound of chain saws and saw blades. And then everything goes quiet again as the next crop is planted.  Graphically, I notated this imagined scenario as a series of constant lines, punctuated here and there with peaks, valleys, bright and dark spots, representing in part the knots and impurities in the pine but also the experience of the piece of wood in its transition from tree to commodity. Everything you hear was created on my humble System 100, which was first fed through the Empress Zoia pedal using the "soft focus" effect created by Christopher H.M. Jacques and then further transformed in Logic using "fragments," and "motion" from Arturia, with hints of the unprocessed Buchla emerging here and there. And there was panning. Lots of panning, so headphones are the preferred listening approach.

disquiet0690

date released 03.05.2018

generative sound, harmonica and trumpet

this is not a blues song (disquiet0331)

De Vis