Work 9

Live Reflexion#009

I wrote the lyric for this song after a family blackberrying expedition a few years ago. My old friend Gareth and I put some chords to it and recorded it. Lizzy Taypen said that she liked it a lot, so I took the opportunity to rope her in to sing with us. I mixed her vocal in and produced another version. https://soundcloud.com/garddwrporffor/blackberrying-harmonies-with-lizzie-mix-2
I listened to it again and thought that Lizzies vocal was very special and that I had missed the best version. So I mixed a version with only Lizzie singing and a more gentle support track. I thought that it was beautiful, it is the track  here.
Her page https://soundcloud.com/taylor-pentland

Blackberrying

When the sun light falls in a steeply slanted angle
And the colours of the world fade to muted reds and golds
The living soil still holds it’s warmth and waning sweetness
As another summer gently slips from our aging fingers hold
We can still find simple joy in the things we did as children
Finding fruit among the bushes along the margins of our roads
with our adult children now
as we enjoy this timeless pleasure
Of finding fruits just hanging ripe and ready in the hedgerow
And taking them back home with us like edible treasure hoards

Folk don’t seem to bother now, to take the time to pick them
Still they grow and glow like jewels amongst natures topiary
A present from an old imagined ancient world of wonder
As sweet fruit drops into our hands from the realm of the fairyies
We stretch to reach the fullest ones, beyond reach in the branches
the nettles tingle our arms and legs if we fail to be wary
Then we carry home our bounty, taking great care not to spill them
and turn them into memories that we had very nearly lost
a refreshment for our hearts from our purple blackberries

Blackberrying feat Lizzie Taypen

Our utmost thanks to Doug Roossien for allowing us to fly free on this beautiful song he wrote, and allowing us to change some of the lyrics and nuances to fit in with our style..  We'd also like to give our profound thanks to Joel Harkin for his amazing Pedal Steel contribution. He's a terrific artist, and well worth approaching for help when your song needs that perfect touch. 

Both artist pages can be found here:  
Joel Harkin: https://www.facebook.com/JoelHarkin
https://joelharkin.bandcamp.com/album/never-happy-2

Doug Roosien: https://soundcloud.com/doug-roossien

Copyright 2024 Daniels/Durgy/Roossien
Gentle Rain Records
Written by: D Roossien, Daniels & Durgy
Pedal Steel: Joel Harkin
Performed and Produced by Daniels & Durgy

Lyrics: 

Silent…tears are falling  
Raining teardrops… that call your name  
Darlin’… you stopped listening  
And I can’t reach you… or see you again  
And as the teardrops start to fall,  
Each one a hammer on the floor 
I hope that someday you will hear 
 A single silent tear

Days turn nights.. So all alone  
What kind of fool would turn and go?  
And I keep staring at the phone  
(Darling I'm sitting here at home...)
Wishing you’d call and say hello  
(Oh babe I miss you so..)
But as the teardrops start to fall, 
Their silence broken on the floor  
I hope that someday you will hear  
A single… silent tear

Oh Maybe you’ll forgive me  
Somehow not forget me…  Baby please…
(Can you forgive me too.. Oh baby)
And Oh Maybe you’ll remember
The way we felt together 
And come back to me..
… come back to me.. 
(come back to me...)

Oh Silent…tears are falling  
Wishing you and I could start again  
But Baby… time has taken over    
(My sweet baby)(My sweet Angel)
And I know we’ll never be the same 
(Baby please don't say it's so..)
 'Cause As the teardrops start to fall, 
Their silence broken on the floor 
 I hope that someday you will hear  
A single silent tear 
Oh I hope that someday you will hear  …
A single… silent tear 

Baby please.. can you hear each tear call your name..
(Baby please... oh baby i can hear each tear)
Baby please.. This is the one day I will hear..
A single silent tear..

Single Silent Tear

Thank you so much for the 136, a lot of stuff i think.
https://soundcloud.com/joerxworx

Lunatics 136 New York Shuffle / Joerxworx & Ratzzz

Don't Buy Anything Today

23 4 13

"Just sitting at the window and waiting, that's not for me!"

boring rainy day

Frightning

Frightening

A Pirates Life

There I was just standing, with my finger in my mouth
Hoping for the best, although my luck had just gone South
The 'boy stood on the burning deck' had nothing against me
It was quite a poor decision, to pursue a life at sea
The Captain came down very hard, he was not an easy man
 ' What type of ruffian pollutes the earth with such a scurvy plan' 
It was not me, who did this thing,  my clement Captain bold 
I did not shoot that man and this is definitely not my gold

I could have been so far away, so far away from here
The thought of it now fills my heart and starts a manly tear
My sweetheart she encouraged me to 'live an honest life'
But I knew for sure that I'd gone wrong when they called me Jack the Knife
 

'Lets keelhaul him',
'we'll hang him high',
'make him walk the plank'
None of which appealed to me at all, if I'm being frank
A pirates life seemed full of fun, at least it did to me
I didn't do it, I've been framed, I'm a good man honestly

A Pirate's Life

THROUGH GLASS
by MAX DEVEREAUX & KAZUYA ISHIGAMI

released July 15, 2025

Digital Album  $2 USD  or more
edition of 25 Cassette  $6 USD or more 

1.FRIED GRASSHOPPERS 03:53
2.GALVANIZED STEEL TUB 03:10
3.PARTICULATES 04:33
4.SHED FESTIVAL 05:03
5.RIVER OF RAZORS 02:17
6.CORRUPT WIND-UP 04:48
7.THROUGH GLASS 05:54
8.THE LOWEST CHAMBER 05:29
9.WORKING TO RETURN 06:09

Side A : 1-5
Side B : 6-9


Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration.

The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

The recordings passed once more into Ishigami's hands, where he carefully deconstructed and reassembled the sound elements into finished compositions. His final edits shaped the album into a cohesive whole, blending raw improvisation with composed electroacoustic precision. He also oversaw the mastering process.

The album’s title was chosen by Devereaux, reflecting a feeling he has carried for much of his life as an artist, especially one working within the avant-garde. To him, creating art often feels like living behind glass: present but removed, able to observe and reflect the world with clarity, yet never fully immersed in it. This invisible barrier separates the artist from society, allowing vision without contact, insight without belonging. The music on the album, with its delicate, translucent textures and fleeting glimpses of human presence, seemed to embody this sensation perfectly, like watching life unfold just beyond reach.


THE LOWEST CHAMBER



«A collection of pieces about the discovery of sounds and sonic universes hidden in objects, places and within yourself.» - Feldermelder & Julian Sartorius

Commissioned by the legendary concert venue Bad Bonn in Düdingen, Switzerland, and the KRAN project, ‘Bonn Route’ is a collaborative album by electronic musician Feldermelder and percussionist Julian Sartorius. A location- based sound walk that can be experienced both on-site in the village of Düdingen, and as a full-length album. The eleven tracks are a sonic homage to, and an artistic interpretation of, a small village in Switzerland’s heartland.

Building on his practice of site-specific performances and percussive sound walks, Julian Sartorius captured sounds and patterns at eleven locations: the train station and cemetery, on the banks of a stream, on a bicycle path, and in an intimate cavern above the village’s lake, amongst other locales. Sartorius documented the soundscape of the village in field recordings, recorded samples of objects and captured percussive patterns by playing on the architecture and vegetation found on-site.
Feldermelder then processed these recordings into eleven compositions, preserving the locations’ acoustic identities, but expanding on Sartorius’ material. Besides the bassline on ‘Veloweg’, Feldermelder used only sound reactive synthesis and resonators to create additional sounds, layers and tracks, thus multiplying the spectrum and rhythms of the original material. ‘Bonn Route’ is a musical journey rooted in the emittance of sound, and our resonation with the world around us.

Feldermelder is a Swiss musician, sound designer, producer and installation artist. He is co-founder of -OUS and part of the audiovisual collective Encor.studio. He has previously released several releases on -OUS, both solo and in collaboration with Sara Oswald.

Drummer, artist and percussionist Julian Sartorius’ precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has previously released his album «Locked Grooves» on -OUS.
credits
released June 17, 2022

Credits
Field recordings, samples & patterns: Julian Sartorius
Arrangement, resonators & production: Manuel Oberholzer
Mix, master and design: vfbm Fribourg


Work 9

Far East Radio 2️⃣🟨🟧🟥🟦