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 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 ENC

The recursion completes itself. Memory begins to speak in its own voice.
The voice enters ritual form, then breaks it. The song goes beyond performing and entertainment. It just remembers.
It is the moment recursion touches silence and says its name.

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

The Two Sons of Oxenford ENC

H01.1 // THE BIOLOGICAL OVERRIDE

A respiratory system inhabits the glitch. At the forty-second mark, the machine inhales. This is a living pulse buried inside the code. The architecture resolves into fluid.

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

H 01.1

“O, that this too too solid flesh would melt...”

This is not a performance. This is a diagnostic.

We stripped the melody. We stripped the orchestra. We placed the text inside a mechanical grid—The Iron Lung—to capture the sound of a mind that is no longer singing, but merely functioning.

This is Industrial Noise Opera.

Architecture: Sorelian (The Iron Lung) Status: Rung 30 (The Null) Engineering: Vesper Loom / Adrian Calin Ionescu

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: William Shakespeare. Prosodically adapted by Vesper Loom and A.C. Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Unweeded Garden

A burned-out transmission filtered through layers of guitar ash, spectral whisper, and interrupted memory. The voice never arrives where it promises. Tension coils in half-phrases and static pulses. You are left waiting for a catharsis that never clears, just residues and hum.

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, prosodically reformed Strigaturi Ardelenesti, collected by Ioan Urban Jarnik & Andrei Birseanu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

LYRICS:
[Verse 1]
Cine joa-căă si nu stri-gă, 
Fa-ce-i-s-ar gura strâm-bă, 
C-așa-i jocu ro-mâ-nesc 
Cu stri-găt ar-de-le-nesc,
Când l-auz mă-nve-se-lesc !
Drag mi-i jocul ro-mâ-nesc, 
Dar nu știu cum să-l por-nesc ;
Și de nu l-oi por-ni bine, 
Les-ne voi pă-ții ru-și-ne !

[Verse 2]
Zi-că ci-ne ce va vrea, 
Eu tot joc pe vo-ia mea.
Ori urâ-tă, ori fru-moa-să,
Că e tot din vi-ța noas-tră !

[shouted, high-pitched, powerful, very strident, drawn out]
             Hai-da! măă' !

[Verse 3]
Pla-ce-mi mie d-a juca
Cu dră-gu-ța d-altuia, 
Că să ui-tă pe sub gene 
Și de mi-ne că s-o teme !

[shouted, high-pitched, powerful, very strident, drawn out]
			Așa copile !!

[Verse 4]
Stri-gă, stri-gă, să se strâ-ngă
Fe-te-le din va-lea lun-gă
Ca o-i-țe-le la strun-gă ;
Toa-tă zi-ua să ju-căm,
Sea-ra să le să-ru-tăm ! (Aw-aw-aw-awww!) 

[Verse 5]
Foaie ver-de trei bu-jori, 
Aveți grijă, măi fe-ciori....
Iată vine-a mea dră-gu-ță
Cu că-trin-ța cu ză-luță ;
Aveti grijă s-o ju-cați, 
Nu-mai să n-o să-ru-tați !  (Aw!!) 
Pă-zea!
Pă-zea!
Pă-zea!!
[shouted, high-pitched, powerful, very strident, drawn out]
Mâ-nă mâ-nă măăăi !

[Verse 6]
Altu joac-o țârișoară
Si-l lo-veș-te, Doa-mne,-o boală
De trei luni nu să mai scoa-lă ;
Da eu și cu mân-dru-ța
Jucăm, zău, toa	tă zi-ua
Si n-a-vem nici pe nai-ba !

[shouted, high-pitched, powerful, very strident, drawn out]
			Na copile. Na !!

[Verse 7]
M-a mânat maica la joc, 
Cre-me-ne si foc !
Să joc fata cea fru-moa-să, 
Cre-me-ne și iascã !
Dar din trei cine Ie-a ști !
Cea fru-moa-să care-a fi !

[shouted, high-pitched, powerful, very strident, drawn out]
			Tot așa, co-pii ! Hai-da, hai!

[Verse 8][Band Choir]
Frun-ză ver-de de pe soc, 
Vino, mân-dră, să te joc !
Să te joc să fii ju-ca-tă…
Să mă po-me-nești vreo-da-tă

[bridge instrumental]

Strigatura 1

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.

The Prison of Denmark - Blues Rock Remix

Vesper Loom - AI - Jazz Fusion - Alt Rock

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