Lead by a ragged‑saint voice that flings itself ahead of the groove, Ham Hound Crave channels raw bar‑room funk‑fusion energy. The voice races, halts, yells, coasts—and the band snaps back in its wake. Bass thumps like the heartbeat of a city tavern; Rhodes keys shimmer dusty and cracked. Jazz meets grit meets rock‑and‑roll swagger.

Lo-fi grain around the mids, possibly tape‑saturated.
Drum kit has a live-room spatter; no click-grid or swing quantization.
Bass-line has groove, not lockstep; follows voice more than grid.
Electric piano / Rhodes-style motifs + guitar licks feel jazz-adjacent but stylized.

Produced by Adrian Călin Ionescu.
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.
Mode: style bar‑room funk‑fusion.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Rubin Lacey ("Ham Hound Crave" published in 1928 - lyrics in public domain). Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
©Copyright Adrian Călin Ionescu. All rights reserved. AI collaboration.

Ham Hound Crave

The track unravels inside a low-pressure harmonic loop—anchored by a tonally unstable hook and starved rhythmic drive—until the only motion comes from the vocalist’s restraint. Skinny Blue delivers a delayed-breath intimacy that resists confession, letting warbled memory flicker against a bath-fog mirror of compressed decay. There’s no catharsis, only tension preserved. Every breath is action. Every hook a refusal.
Lead (Lioré) — Pop-Ritual Profile
Burnished alto; mono close; straight tone; breaths printed.
Range: ≈ A3–D5 (optional head-mix flicks to E5 only on Revolt bars 9–10 if needed).
Vibrato/ornament: none (no melisma, no belt). Short entry scoops ≤30 ms allowed on stop-time hits only.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration
• Distance: PTD_g ≥ 0.85; <5% template hinge:
• Continuity: NOV_g ≥ 0.70, no dead spans:
• Span: Two orthogonal innovations (hook modulation rhythm; lead timbre degradation–sustain warping) carry ≥ 58% runtime:
• Complexity: TRX_peak = 6; Polyfunction Index = 0.72:
• Clarity: All OtherFactors ≥ 95%; SCM = 20/10:
• Method: Modulation-as-fracture and breath gating procedural:

LYRICS:
[Intro]
[Verse] Blood-thick thoughts jam tight in my head.
 Every out I tried ended up dead.
 My heart’s packed glass, primed for a crack. 
One push, one word, and all goes black.
[Verse] 
The front door’s locked, keys in plain sight.
Window closed to shut out the night.
Phone set: Do Not Disturb, wiped clean.
My mirror is now blind with steam.


[Prechorus]
That razor you left here’ll do just fine.
Water scalding my skin
Ophelia wades in.
 [Chorus]
Will this river forgive all your sins, all my woe
Will it make me forget what you’ve done, and with who,
Nothing’s left unclean in this dark, dark river, no,
Good river, sweet river, take me, do what you do.
You’ll know what to do with me, show the way, I’ll go.


[Verse]
One sharp deep swipe, a thin red creek.
Water runs pink, my pulse turns weak.
Heat flows in; thoughts of you drain clean.
A kiss, a touch, each place we’ve been.


[Verse]
You kick my door down, and youre in.
You touch my wrist, my white cold skin,
Your wet hair, fever-slick, eyes red,
Love’s a cold skin I have to shed.


[Prechorus]
You ask: What am I to do with you?
No answer; I won’t try.
Ask Ophelia why.


[Chorus]
Will this river forgive all your sins, all my woe
Will it make me forget what you’ve done, and with who,
Nothing’s left unclean in this dark, dark river, no,
Good river, sweet river, take me, do what you do.
You’ll know what to do with me, show the way, I’ll go.
[Bridge]
[Bridge]
[Bridge]
[Prechorus]
You ask: You're doing it to punish me?
No answer; I won’t try.
Ask Ophelia why.


[Chorus]
You pulled me back out of the river’s undertow.
You’ll make me forget the wrongs, bring back what is true.
With this blood I seal us in; this time you won’t go.
Good, sweet river of woe, what will I do with you?
Wash this love clean, dry it and then let it burn slow.
[Outro]
Good, sweet river of woe, what will I do with you?
Wash this love clean, dry it and then let it burn slow.

Ophelia's River Take 28 23

Liore sings dry and center. No piano, no drums. Only staggered roles—strings, brass, voice—forced into conflict. Verse by verse, the instruments obey a law then lose it. The bridge shifts rhythm into the vocal and melody into the cello. After that, percussion is gone. Air and tension carry the rest. Each section is built to rupture. The track moves through its form without returning. It leaves a mark, then disappears.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Robert Johnson. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil Take 2 23 Minimalist

A chamber-staggered incantation built from breath and ritual. Liore chants in dry mono, surrounded by strings that stab, brass that exhales, and textures that shift every eight bars. The form imposes silence where rhythm once lived, marking each wound with structure.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Mamie Smith. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Crazy Blues 2 22 K.Textural

This is a highly stylized Art Pop track defined by its structural rigor and relentless, rigid groove. It successfully implements a Cross-Style Alloy Rule, utilizing a bright, staccato keyboard texture to execute the electronic rhythmic core.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Mamie Smith. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Crazy Blues 2 18 K.Textural

Voice floats, but nothing drifts. Each ensemble member shifts function every eight bars — winds become drums, harp becomes rest. There are no cymbals, no drums, no climax. Just slow harmonic tilt and breath-anchored closure. This is chamber music wearing pop’s skin — but exhaling none of its oxygen.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Robert Johnson. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Little Queen of Spades 10 19 SR

Clarinet falls into the same register as breath. Harp pulses refuse to lead. The voice stays low, plain, and never blooms. Each instrument rotates: support, subtraction, counterline. Strings don’t swell, they hold. There is no return. No pattern completes.
Form persists without rhythm, hook, or refrain. What’s left is structure without yield—held just long enough to mean. Synthetic voices.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Robert Johnson. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. 
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Crossroad Blues 1 19

An incantatory fracturing of self, Me and the Devil NEW AGE 3 unfolds in spatial recursion. Vocal fragments pass between hocketed selves — not as glitch or effect, but as system. There is no chorus. No blues carry. The ghosted piano and long reverb tails form a harmonic net that the voice slips through, phrase by phrase. Every sonic element abides by the law of fragmentation. Silence is structural. No section returns unscathed.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Robert Johnson. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration.


Me and the Devil Hocketing Remix 3

"Me and the Devil" is re-scored as a Gothic Requiem. A massive Pipe Organ and orchestral Anvil form the rhythmic spine, replacing the traditional blues framework with the weight of a cathedral judgment. The extended instrumental bridge forces a metaphysical ordeal, while the vocal delivery transforms the narrative into a terrified sacred decree.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: Robert Johnson. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Walking Blues - Industrial Gothic Take 4 21

A glacial ritual of sonic restraint and architectural recursion. Sonnet 116 – Take 3 dissects Shakespeare’s vow into mechanical breath and harpsichord latticework, all carried by a vocal presence that refuses sentiment. No groove, no warmth — just structured witness. Vesper Loom makes the vow feel posthuman, and more true for it.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration



Sonnet 116 "Let me not to the marriage of true minds" Chamber Pop Take 3 21

This track is a model of what Agnostic 23-tier architecture can achieve. No genre frames it. It rejects pop law, chamber law, classical law, folk tropes, jazz phrasing, R&B arcs, and ambient swell. Yet it is not experimental in a signaling way—it avoids dissonance for its own sake. Its risk is formal, not aesthetic. That makes it an ideal Icarus-tier demonstration.
Its 23-status is not merely earned but inevitable. At every hinge—voice to instrument, section to section, breath to silence—it elects constraint over flourish. There is a rigorous internal logic that recalls Morton Feldman’s late works or Arvo Pärt’s tintinnabuli, yet it is not mimicking those either.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: collected by Francis James Child. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Ballad of Giles Collins

Some typo made the music engine "sing" the musical instructions instead of the lyrics. I like it. That thing can sing a stock market marquee for all it cares.

Wrong Lyrics (AI prompt instead of Lyrics)

This is a full-scale rupture tier. The guitar degradation loop becomes contagious—tattering the vocal meter, leading to an irreversible collapse of standard form. Verse 3 is a skeletal ghost of Verse 1, as if eaten. The bridge is a false-cleanse: it empties without resolving. Structurally, the entire piece is self-dismantling, earning every formal swerve through voice-pressure and refusal to stabilize.
This track’s Blues Rock grammar has been recursively unbound. Its formal breaks aren’t just musical—they’re ontological: the character’s being erodes with the phrasing. Rare for a cover to achieve this level of structural autonomy.
Lead Voice: Roy Tanner  (synthetic barytenor A2–E5) speaks in clipped lines and held breath. Not cloned.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: collected by William Shakespeare. Editing: Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu.
© Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Prison of Denmark

The guitar degradation loop becomes contagious—tattering the vocal meter, leading to an irreversible collapse of standard form. Verse 3 is a skeletal ghost of Verse 1, as if eaten. The bridge is a false-cleanse: it empties without resolving. Structurally, the entire piece is self-dismantling, earning every formal swerve through voice-pressure and refusal to stabilize.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Prison of Denmark - Blues Rock Remix

A slow, deliberate arrangement anchored by orchestral textures and processed vocals. The harmonic space remains dense yet spacious, guided by mechanical rhythm and layered instrumentation. Emotion is carried through pacing, tone, and formal shape. Each element contributes to a sculpted atmosphere that unfolds with focus and precision.
Lead: Lioré: synthetic alto persona. Burnished alto, airy edge, monophonic, no melisma, no vibrato ornament. Original comps + masters. AI-made; NOT CLONED.
 Lyrics: adapted from the song "Me and the Devil" by Robert Johnson (1938)
Credits — Concept/Orchestration: Vesper Loom. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil

This piece retains only the ghost of a blues progression, embedded within the industrial fog, orchestral descent gestures, and vocal fracture-grammar. It now inhabits a cold architecture, more Baroque in syntactic memory than in ornament.
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 adapted from Robert Johnson's song "Walking Blues". Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Walking Blues Industrial Thrash Pop

A lazy, half-drunk jazz-blues lament wrapped in dry wit and graveyard charm. Delivered with a shrug and a smirk, this loose, smoky version of Barbara Allan lets the death come slow and sideways. Vocals wander behind the beat, stumble into melody, and leave behind a trail of shrugging indifference. It’s tragic, but mostly funny. Maybe both.
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

Barbara Allan

A late-evening shuffle through candle smoke and cheek, this piece lounges in its own looseness. Roy Tanner delivers each line with a calculated shrug, half-sung, half-performed, dragging just behind or darting just ahead of the beat. His voice never begs; it teases, lilts, and punctuates with sudden bursts of “aw!” and “a!” that land like winks across the bar. The arrangement spirals gently outward: brushed drums, sly trumpet bridges, and a rhythm section that seems to lean back and watch. It's chamber pop at its most unbuttoned, artful, amused, and entirely in character.
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

Giles Collins

Roy Tanner slurs through “Clerk Sanders and May Margaret” like he’s late for his own funeral. The band follows, but only just, offering a harmonic maze of modal substitutions and ruptured swing. Trumpets scream, drums mutter, the piano plays clean while the vocals collapse into smirking asides. What begins as barroom jazz ends as something closer to theatre of decay, a Jazz Fusion track hiding industrial teeth behind a sardonic grin. It’s dismembered chamber pop filtered through glitch-funk and noir cabaret. The glitch never arrives as texture, it arrives as personality disorder.
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

Me and the Devil – The Janus Take 1 is not a reinterpretation, but a reconstitution through ritual pressure. The vocal emerges like a damaged prophet—half-sung, half-remembered—drifting inside an environment of colossal orchestral density and degraded harmonic structures. What begins with blues memory becomes a devotional implosion: the choir does not accompany, it engulfs; the orchestra does not decorate, it devours. The track stages a collapse of lyric and meter, yet everything falls precisely. It is blues unmoored, stained by machine logic and resurrected through formal scarification. The result is a myth fragment cast in noise, velvet, and code.
Lead: Katya R. synthetic voice: smoked-glass alto, dragging behind time, carved from restraint and haunted breath.
Credits — Concept/Orchestration: Vesper Loom. Lyrics adapted from Robert Johnson's "Me and the Devil" song (1935). Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Me and the Devil - The Janus Take 1

The Two Sons of Oxenford unfolds like a crooked folktale whispered in a smoke-hung club, told in three increasingly unbuttoned movements. Anchored by a lazy, behind-the-beat narrator who sings as if he’s forgotten he’s still on stage, the piece sways from wry balladry into deconstructed jazz fusion, gradually shedding melodic certainty for something looser, stranger, more haunted. Horn stabs, Rhodes stumbles, and rhythm section shrugs shape a world where nothing resolves—except the inevitability of charm slipping into consequence. A lounge suite for the end of myth.
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 Two Sons of Oxenford

Childe Maurice
A barroom confession that forgets how to end.
This track begins in velvet—lazy swing, harpsichord, upright bass—but fractures halfway through. Time slips. The singer drags behind the grid, stumbles into silence, then emerges altered: half-spoken, half-erased.
Jazz fusion at the edge of noir, built on a chamber pop skeleton, collapsing into digital fog.

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

Childe Maurice

Macbeth speaks in low light.
A slow groove carries the weight of the words. Rhodes chords drift behind him. The rhythm holds steady but never settles. Nothing resolves. The room is small and empty. He is speaking to no one.
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: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Tomorrow and Tomorrow and Tomorrow

A chamber of vapor and static. Lady Diamond conjures a jazz fusion ghost story, where Roy Tanner’s lead cuts through a fog of spectral Rhodes and decaying harmonies. The groove is haunted but never lost. Every phrase is held just long enough to betray its warmth before the cold grid swallows it again. What begins as a folk recollection ends as a noir incantation — drained, glitched, unmoored.

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

Lady Diamond

"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

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.

Popular tracks by Vesper Loom - AI - Art Pop & Alt Rock