Deadline:  1st November 2022

All submissions to Haiku 460:

https://www.naviarrecords.com/2022/10/26/naviarhaiku460-frozen-dew-gleams/

To participate:
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)
- When choosing a title for your piece also include the assignment number, for example “Title of your track (naviarhaiku110)”
To submit your track:
- If you’re a Soundcloud user, upload it on Soundcloud and send me the URL via private message, or tag me in the track.
- If you upload your music on Youtube, Bandcamp or anywhere else, upload your submission and then send me the link by email at marco@naviarrecords.com or contact me on Twitter, Facebook or Instagram
- If you don’t use any music platform, upload it to this Dropbox folder and I’ll include it in the weekly playlist. If you choose this option, make sure you include your name in the track’s title. www.dropbox.com/request/JvKyUfuCSzJ3gRNRocZz
Your track may be included in Naviar's weekly podcasts and free (pay-what-you-want)compilations. If you can, please set the track as downloadable on Soundcloud and allow others to remix/reuse it by using a Creative Commons License.

Naviar Haiku Challenge: www.naviarrecords.com/about/naviar-haiku
Naviar Records store: www.naviarrecords.bandcamp.com
Subscribe/support the project: www.naviarrecords.com/support-us/

haiku #460: Frozen dew gleams / Spiderwebs made stark / The cusp of winter

Effendi Red is a character in the BBC Radio 4 drama Tumanbay 


https://en.wikipedia.org/wiki/Tumanbay_(radio_drama)


Off-beat jazz vibe for off-beat jazz moments.

Published on SC 8 November 2023

Work in progress

Effendi Red

This track was created for the Naviar Haiku group.
460 week haiku
https://www.naviarrecords.com/2022/10/26/naviarhaiku460-frozen-dew-gleams/

2022-10-27

Frozen Dew Gleams   ( Naviarhaiku 460 )

This week's haiku challenge:

Naviarhaiku460 – Frozen dew gleams

Frozen dew gleams
Spiderwebs made stark
The cusp of winter

Haiku by David Pattison https://twitter.com/DavidPa71415858

For more information visit http://www.naviarrecords.com/about/naviar-haiku

Drums From The Well (naviarhaiku460)

With planning now for the @naviar-records event on 7th December at Cafe Oto, I'm thinking now as pieces as fragments that will make for materials for live mixing and performance on the night.

This is a tiny fragment from the improvisation I did the other week with @stellato-strings on the violin, me on the piano, and through panning, repetition and added effects normally used for vocals I'm trying to create a spider's web that is a series of bell-like connections.

This is in response to HAIKU MUSIC CHALLENGE Naviarhaiku 460:

Frozen dew gleams
Spiderwebs made stark
The cusp of winter

I came across David Pattison’s haiku on Twitter. David started writing poetry just a little over a year ago and uses it to share and express his love for nature.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 2nd November 2022

haiku by David Pattison https://twitter.com/DavidPa71415858

The pic is by me, yesterday morning out on a walk with a dear friend who is just back from Sweden.

spiderwebs (naviarhaiku460)

Seramind - Tau Glänzt (naviarhaiku460) [Ambient, Techno, Chillout, Deep, Drone, Minimal]

https://www.naviarrecords.com/2022/10/26/naviarhaiku460-frozen-dew-gleams/

naviarhaiku460 – Frozen dew gleams

Frozen dew gleams
Spiderwebs made stark
The cusp of winter

I came across David Pattison’s haiku on Twitter. David started writing poetry just a little over a year ago and uses it to share and express his love for nature.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 2nd November 2022

haiku by David Pattison https://twitter.com/DavidPa71415858

picture by Artur Pawlak https://pixabay.com/users/artellliii72-15900295/

Visit my other pages:

Official: http://www.seramind.de
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SoundCloud: https://soundcloud.com/seramind
Discogs: https://www.discogs.com/artist/4709745-Seramind
Facebook: https://www.facebook.com/seramind
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Tau Glänzt (naviarhaiku460)

Frozen Webs

Frozen Webs(NaviarHaiku460)

frozen dew - Naviarhaiku460

frozen dew - Naviarhaiku 460

A moment of your time please [91]

autumnal decomposition

Economic Play

Piano Explorations[21.2]

Dotasa Postec

A short venture into atonality after a long sojourn in the tonal sphere. Instrumentation: Harpsichord Celeste Horn Tubular Bells and oboe and Base Clarinet

Atonal Tune

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

A Pane of Glass

ოფიციალური გამოყენებული და გამოუყენებელი მუსიკები სპექტაკლიდან ყაჩაღები.

God help me

Merlin — Diary Entry: Gentle Ground

This morning, something inside me finally settled.
It wasn’t a revelation, not a spark — just a soft return.
A feeling of warmth in the soles of my feet, like the floor was finally real again.

Gentle Ground.
A small truth:
some music doesn’t lift you.
It lets you stand.
It lets you feel your own weight without fear.
And somehow, in this soft space,
I felt myself arrive again.

If this piece holds even a fragment of that calm for someone else,
then today was a good day.

© 2025 MIRAGE — All rights reserved.

GENTLE GROUND

Traveller in sound and space.  Enjoying and creating ambient, drone and experimental music.

Naviar is a music community and label. Through regular publications, open projects and events, we explore the connection between experimental music and traditional Japanese poetry.

To join the Haiku challenge, visit https://www.naviarrecords.com/about/naviar-haiku

frozen dew - Naviarhaiku 460

zenbytes

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