Bem psicodélico...fui na onda😎✌🙏

Gianni Micciola live at Magazzino di Gilgamesh - Turin (Italy)
for info write to :
gianni.micciola@gmail.com

Gianni Micciola - Borealis

"Oscillations in Green" is a hypnotic soundscape that pulses with life, blending jazz, classical, and electronica into a seamless journey through the Sierra Juárez. Anchored by a thumping kick and guitar-forward melodies, it evokes the swaying pines and mountain breezes of Capulálpam de Méndez. This track is an ode to the vibrant connection between sound and nature, where every note feels like a breath of fresh air amid the timeless rhythms of the forest.

Oscillations in Green

Create the next four bars by going against the image of the first four bars. Then create the next eight bars by going against the image of the eight bars you created. This is repeated until the last piano chord is destroyed by a delay that is too strong, and the song ends with the lingering sound cut off. All of this ingenuity is music. But I let the music itself take the initiative in my creation. This technique cannot be called a collage. It's like arranging items bought at a music general store in front of a bakery. I think it has meaning.


Shouting Music in the World (311)

WANATG@GMAIL.COM

Providence (Free Download)

[ Albums ]
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Youtube

Glaciation

Needs - Interlude - Fire Ark Radio Production

Needs - Interlude

Twin Peaks - Preview

noxpox - Nem E Sis

Bright Stars In The Haze

Tendering my confession in advance to the writer's besetting sin of oversimplification, I say: synthesizer technique has two main paths. The first -- call it the Moog approach -- sees the instrument as a tool for the creation of new (if you will) organ stops. The other, the Subotnik approach, is concerned with the generation of SOUNDS -- very few if any of which will be at all expressible in the notation which has developed over the past millennium and served us so well. The two approaches are not mutually exclusive, of course: virtually all synthesists draw from both, as their Muse, mood, and machinery may dictate.
As to my title, it goes back to a chance inspiration scrawled on a balloon at the Fillmore in '67. (Cream, Paul Butterfield, and Charlie Musselwhite, "Three bands for three bucks," eat your hearts out, endebted-out-the-whazoo youngsters!) It was a time and place where the most extraordinary things were said -- and more than might have been hoped or feared were even done -- but this wasn't one of them. But like the good man who can't be kept down (or the bad penny that keeps coming back) here it is in our present day. Lacking the euphony and heartstring-tugging of the Twelfth of Never, perhaps, but equally from that realm of the definitionally impossible, even for this age determined in so many ways to make 2+2=5.
To the technical side: all synth parts from my Roland SH-32. Rhythm (and Reality-grounding) comes from my African drums, assisted by real-world cymbals and the Yamaha DTXtreme.

the 32nd of February

Un immense Merci à Speedmike https://soundcloud.com/user-423331569 qui m'a proposé cette superbe mélodie à la guitare, basse et solo, un vrai plaisir de travailler ensemble, merci aussi à Lena https://soundcloud.com/user-262019520 qui fait toujours des superbes coeurs et voix :)

L'EXIL (Speedmike / Steph Ouna / Lena)

The Artist is a former Road Scholar and graduate of the School of Hard Knox. He also studied at the now-defunct Liebessommer-Institut in San Francisco. His musical influences are many: among them J.S. Bach, Morton Subotnick, and Spike Jones! Not one to let stylistic grass grow under his feet, he has seen a lot of changes in his life but will never cancel his subscription to the Resurrection, surrender to the dark side, or look back once he has put his hand to the plow!

the 32nd of February

Wynn Schaible

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fabiano matiolla

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