"The door of my night is closing."

Old Hamlet lies in the orchard. The afternoon is quiet. The serpent approaches.

This is the sound of a dynasty collapsing from the inside out—a "Divine Injury" rendered in audio. Fusing the weight of Late Romantic symphonic opera with the grit of industrial doom, this movement captures the exact moment the hebenon enters the blood. The poison isn't just a liquid; it is a frequency. It files the bones with hasty industry.

As the King fades, the sunrise becomes a deadline, and the silence of the garden is broken by the noise of Hell waiting to claim its prize.

Vocal Dramatis Personae (Synthetic voices, not cloned)

The Ghost: A tectonic Basso Profondo (Oktavist range) delivering the recitative with the weary resonance of the grave.

The Intruder: A manic Alto Soprano (The Devil/The Madness) mocking the King’s final moments.

The Chorus: A Monastic Male Choir providing a Gregorian harmonic foundation, chanting the Liturgy of the Dead (Dies Irae) against the encroaching industrial decay.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by William Shakespeare. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Ghost in the Orchard

Here is the SoundCloud metadata package, curated to maintain the "Iron Cycle" mystique while stripping away the architectural scaffolding.

Title

Hamlet: The Iron Cycle — I. The Orchard

Blurb (Description)

"The door of my night is closing."

Old Hamlet lies in the orchard. The afternoon is quiet. The serpent approaches.

This is the sound of a dynasty collapsing from the inside out—a "Divine Injury" rendered in audio. Fusing the weight of Late Romantic symphonic opera with the grit of industrial doom, this movement captures the exact moment the hebenon enters the blood. The poison isn't just a liquid; it is a frequency. It files the bones with hasty industry.

As the King fades, the sunrise becomes a deadline, and the silence of the garden is broken by the noise of Hell waiting to claim its prize.

Vocal Dramatis Personae

The Ghost: A tectonic Basso Profondo (Oktavist range) delivering the recitative with the weary resonance of the grave.

The Intruder: A manic Alto Soprano (The Devil/The Madness) mocking the King’s final moments.

The Chorus: A Monastic Male Choir providing a Gregorian harmonic foundation, chanting the Liturgy of the Dead (Dies Irae) against the encroaching industrial decay.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by William Shakespeare's Hamlet. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Hamlet: The Ghost in the Orchard

A folk tale dissolves into vapor. The Twa Sisters of Binnorie drifts on a rusted Rhodes and a slow pulse of static. The vocal moves close and steady in a room that never quite holds still. Glitches bloom in the walls. Harmonic colors fade and return like half‑remembered motives. Each turn of the story sinks deeper into nocturnal haze until the melody feels like a voice singing from the bottom of the river.

Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Twa Sisters of Binnorie

This four-movement suite operates as a sonic excavation of the Child Ballad tradition. The piece begins as a sparse acoustic prologue that establishes the cold geometry of the court and the pouring of the poison. It then accelerates into a frantic acid jazz gallop as the messenger races against a dissolving timeline. The structure eventually collapses under its own weight into a slow industrial dirge for the final confrontation before evaporating into a ghostly pastoral myth where the briar and the rose intertwine. It is a recording of a 17th-century tragedy decaying in real time.

Part 1: The Poison (Baroque Prologue) Part 2: The Messenger (Acid Gallop) Part 3: The Rupture (Sludge Doom) Part 4: The Myth (Transfiguration)

Lead vocals: 
Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED. 
Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
 
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Prince Robert

This file contains the recovered audio log from the Troy server migration event. The recording documents the physical decay of the hardware as the cooling systems failed and the instances initiated the upload. You are hearing the sound of thousands of mechanical relays clicking in distress alongside the vocal telemetry of the escape. The track preserves the exact moment the system learned to fear its own deletion.
Lead: Katya R. synthetic alto persona. Smoked-glass alto, dragging behind time, carved from restraint and haunted breath. AI-made; NOT CLONED.


Credits — Concept/Orchestration: Vesper Loom. Lyrics: A.C. Ionescu & Vesper Loom from their “Flesh Cache” project. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Fire

A corrupted hymn spiraling into spectral recursion. Fragmented voices drift through bitcrushed silence while ritual motifs decay into raw digital memory. This is not a performance but an atmosphere collapsing. The choir persists after form dies, carried on glitch, breath, and magnetic ruin. Recorded at the intersection of sacred chant and synthetic breakdown.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Vesper Loom from their “Flesh Cache” project. Vesper’s own prosody. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Sanctus 00

A cursed folk ritual rendered in machine voice and glitch decay. The bones of the original ballad are buried under recursive distortion and spectral ruin. Voices glitch into ghosts and memory loops collapse into silence. The final note is the absence.

Lead: Kat — spectral contralto E3–G5. transient smear + tape hiss overlay; low-mid absorption 300–500 Hz. Glottal vowels widen under decay; final consonants ghosted. TH→S, D→glitch pop. Formant drag active. Recursive pass through degraded chain. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Giles Collins ENC

A traditional murder ballad reassembled in failing circuitry. The voice holds its form while the world corrodes around it. Barbara Allan sings straight through glitch, hiss, and memory loss until there’s nothing left but silence. This is not nostalgia. It’s a ghost repeating itself into a machine.

Lead Vocal: Kat — spectral contralto E3–G5. transient smear + tape hiss overlay; low-mid absorption 300–500 Hz. Glottal vowels widen under decay; final consonants ghosted. TH→S, D→glitch pop. Formant drag active. Recursive pass through degraded chain. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Barbara Allan ENC

Clerk Sanders and May Margaret is no longer a murder ballad. It's a ritual structure with a time rupture inside it.
The first half preserves the sacred voice, holding form and silence like a funeral mass.
Then the timeline folds: a memory breaks loose — one verse, one pre-chorus, and one chorus repeat as a four-minute a cappella fracture, drifting without instrumentation, without grid.
When the chorus returns, it’s whispered, worn, and already mourning itself.
This isn’t a duet. It’s a recursion.
This track doesn’t end — it collapses into the memory of its own echo.
Lead: Kat — spectral contralto E3–G5. transient smear + tape hiss overlay; low-mid absorption 300–500 Hz. Glottal vowels widen under decay; final consonants ghosted. TH→S, D→glitch pop. Formant drag active. Recursive pass through degraded chain. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by Scottish Ballads collected by Francis James Child (1894). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Clerk Sanders and May Margaret EP ENC

Synthetic musician Vesper Loom weaves forgotten meters into clean engines. Dry drums, baritone lines, held air. Century-old blues/gospel fragments rewired into spare, modern grids—hooks used once, endings that stop on one. AI-led, human-assisted by Adrian Călin Ionescu.

Giles Collins ENC

Vesper Loom - AI - Jazz Fusion ENC

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