A generative meditative piece inspired by the following haiku:

stillness:
the sound of petals
sifting down together.

by: Miura Chora

Miura Chora (1729-1780) was a Japanese poet from Toba (present-day Mie Prefecture). Early in his career, he came into contact with the Teimon School, and bonded with the great Yosa Buson. An admirer of Matsuo Bashō, he strived for a return to the simple tones and spirit of the latter's poetics, criticizing the vulgarization of haiku of his era and advocating the so-called "return" to a Bashō's style.

(from: https://www.naviarrecords.com/naviarhaiku571-stillness/)

The Vulgarization of Haiku [ naviarhaiku571 ]

This track was inspired by this week's Disquiet Junto project, which was to create a drone with a melody well hidden in the soundscape. I composed a drone - as in last week's track - based on sounds I created for another endeavour, and hid a slow, soothing melody within the soundscape.  

More on the 676th weekly Disquiet Junto project, Sub Melody - The Assignment: Bury a slow melody deep inside a drone - at https://disquiet.com/0676/

The Melody Within (Disquiet0676)

alien - potato - REC_0098_N

2025-03-12

The day ends beyond the horizon.

Inspired by Naviar Haiku 584:
https://www.naviarrecords.com/naviarhaiku584-heaven-and-earth/
Thanks to Marco Alessi from Naviar Records for the weekly challenge!
Photo by zenbytes (Germany, 2018)

snow fluttering down - Naviarhaiku584

This haiku poem is part of the Naviar haiku music challenge, where artists are invited to make music in response to a weekly assigned haiku poem. https://www.naviarrecords.com/naviarhaiku584-heaven-and-earth/

SONG 78 - Navairhaiku584

This week's task is rather serendipitous in that I am actually engaged in some minor wood working this weekend. I recently built a small Buchla 100 system (and its case), consisting of what is shown in the image and the as yet unhoused (and not shown) 114 touch control module, which is what the piece of unstained pine sitting on top of the Buchla is destined for. I selected pine because my woodworking skills are still rather rudimentary so working with higher priced and more difficult lumber makes me nervous. Plus, there is something comforting about pine's ubiquity and approachability. Making a mistake with pine seems excusable. Doing so with walnut or oak less so. That said, I got to thinking about the pine that I picked up at my local lumber shop in terms of the conditions under which it is grown and the vast quantities of trees that are stripped from the land so that people like me can make boxes for their vintage synthesizers. Sonically, I imagined this as a somewhat discordant drone, with peaks and valleys and occasional moments of harmony. The trees grow, mainly in a state or quietude, before they are cut down and processed to the sound of chain saws and saw blades. And then everything goes quiet again as the next crop is planted.  Graphically, I notated this imagined scenario as a series of constant lines, punctuated here and there with peaks, valleys, bright and dark spots, representing in part the knots and impurities in the pine but also the experience of the piece of wood in its transition from tree to commodity. Everything you hear was created on my humble System 100, which was first fed through the Empress Zoia pedal using the "soft focus" effect created by Christopher H.M. Jacques and then further transformed in Logic using "fragments," and "motion" from Arturia, with hints of the unprocessed Buchla emerging here and there. And there was panning. Lots of panning, so headphones are the preferred listening approach.

disquiet0690

2025-04-29

fish

Drift, aka Alessandro Ferrario, defines his style as “Slow-motion electroacoustic sound paintings”, this definition comes from the tempo he uses, 40 BPM with 4/4 time signature, the main instrument he uses, an upright piano, and the layers crafted using the instruments you can find in orchestra, cello, viola, violin and double bass most of the times. He then elaborates all the patterns, adding modern era VSTs to create layers, like a painter does with paint.

In “Fragments of a Distant Now”, the artist explored time and memories, unfolding slow rhythms and digital manipulation to create textured atmospheres, which, like memories, can convey either relaxation or tension. Using delays, echoes, reverbs, and distortions, he crafts a sense of glitch in sound that mirrors the imperfections of fading memories.

Produced, mixed and mastered by Alessandro Ferrario (Drift)
Cover artwork by Alessandro Ferrario
Cover design by Dionis Afonichev (Dionisaf)

Fragments of a Distant Now

Shifting Horizons

Quest (Outnow)

[Ethnis] - Crystalline Wheel

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

snow fluttering down - Naviarhaiku584

zenbytes

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