audiobulb

MemLoss is about my speech and memory becoming noticeably inconsistent. Day-to-day, I am forgetting words when I speak (not when I write), as well as forgetting various steps in whatever task I’m supposed to be doing. Because of this, I’ve begun using my music, animation, artwork, etc., as a method of documentation. Not so much documentation of speech and memory loss, but of the confusion it leaves behind. The most interesting part of this issue, to me, is the amount of proof it takes to get those around me to actually understand what is going on. From having to use descriptors instead of the actual words I need, to inadvertently missing parts of the processes I perform every day. While it is audibly and visibly apparent; rather than trying to understand, it’s discounted. Most frustrating is the decline. Of course this is glossed over, because it’s like watching an hourglass - change is happening slowly - faster now than before, but still glacial to the outside observer. MemLoss will be my opening statement on what is happening. Going forward my style will both be pulling from the past and becoming more and more like what is happening to my mind. Fragmenting and reiterating.

Hwapo is a work in four parts, based around field recordings from the place of the same name, a tiny fishing port in South Korea. These environmental sounds were processed and combined with electronic tones during a residency at EMS (Elektronmusikstudion) in Stockholm, Sweden.

In Ümlaut’s latest release, Because you are alive, everything is possible, sound becomes an affirmation — a slow, unfolding meditation on the quiet miracle of being. Built from layers of tape loops, gently pulsing synthesizers, and intricate field recordings, the album drifts between the organic and the mechanical. Birdsong and wind mingle with soft percussive textures drawn from the hum of real environments — a world of subtle movement and hidden rhythm. Machines breathe and click in the distance; fragments of life are caught and transformed, re-emerging as delicate patterns of tone and time. Each piece evolves patiently, moving like light across a wall, or the steady unfolding of a thought. The mechanical sounds provide a grounding pulse, while the synthesizers open into vast, slow-moving harmonies that invite stillness. Every small sound feels intentional — placed with care and reverence — creating an experience that rewards close listening but never demands it.

Living between structured and textural forms, Svalr is a collection of sonic reflections and impressions from a field recording expedition to the remote Arctic archipelago of Svalbard. Built from the sounds of glaciers, fjords, wildlife and human structures, OD’s debut explores the synchronous harmonies of an isolated, extreme and rugged landscape. Each track on Svalr is representative of a day of environmental recordings, which play back as a sensory, field journal of Svalbard’s changing climates and unconventional acoustics. On Svalr, OD reaches beyond traditional ambient recording to magnify the subperceptual. The sound offers a new perspective on a fragile landscape and sensitive ecology, and the human connection and disconnection across the land that, despite its remoteness, critically absorbs the global impact of humans in the Anthropocene.

This album marks the culmination of a three-part release series, dedicated to celebrating online collaboration with fellow experimental musicians. The series comprises the following instalments: ·      Familiarity Folded ·      Familiarity Enfolded ·      Familiarity Unfolded Engaging in collaborative writing is a transformative creative practice. Through co-writing and remixing each artist embarks on an intimate journey, forging close connections with one another and their respective works. This process involves deconstructing existing auditory and textual elements, then reassembling them into new renditions. The movement of air and emergence of beats signify new life unfolding.

“Neural Network” is Idiiom’s first solo album, and it stands proudly alongside the works of pioneering electronic vocal artists such as Laurie Anderson. Each track is an improvisation, relying solely on her voice, which she manipulates through effects to create intricate loops and layered vocalisations. Much like Anderson, idiiom transforms the human voice into a multifaceted instrument—one that channels emotion, innovation and narrative in equal measure. As we journey through life, we encounter a boundless range of emotions, each adding meaning and depth to our humanity. Some feelings are cherished, while others—like grief—are more difficult to bear. The song “Real Sad” was born from a moment of profound sorrow and emotional honesty. On that late spring evening, after the loss of my brother, I surrendered to the rawness of my feelings, allowing the music to serve as a vessel for authentic expression. The track captures a profound emotional state, echoing spontaneity and vulnerability. Throughout the album maintains an immediacy and authenticity akin to the groundbreaking practices of electronic vocal innovators. All sounds and lyrics were improvised, with no composition or editing beforehand or afterwards, except for the final mixing and mastering by Michel Mazza (OdNu).

XII Sound is Alice DeVille whose SITE is the London Underground. “It’s difficult to know when my phobia of the tube began. But at some point, something changed, and I began to experience an increasing dread of the tube. Something about the very shape of it – the enclosure, the beneath the ground feeling, the crush of people – and soon, getting stuck in tunnels even for a few minutes would cause me to break out in a sweat. Every journey became increasingly distressing, and I started to feel panic rising within me every time the doors closed. Maybe to distract myself, I began to record my moments of fear and all that was happening in the tube at these times. Some of what you hear in Tube V is about this. Along with the fear, there is also a beautiful familiarity for me in the sounds of the London Underground. I grew up right next to Wimbledon Park station, and I remember falling asleep as a child to the squeak of brakes or the clunking, soothing rhythms of the trains. The familiar announcements, the snippets of conversation, and the sounds of life are deeply nostalgic and soothing for me. I have noticed that the tube, with its long windpipe, is a singer like me. At times in Tube V, I sing a duet with it. I wanted to mix natural sounds (birdsong, rain, waves, stones on the beach) into the industrial so that you are not always sure what is a natural sound and what is mechanical or human-made (is it a voice or is it a train?). Almost like mixing paints to form new colours, I mixed these sounds perhaps to find my way back to nature, and to ease that grief of urban disconnection. After years in the classical music world as an opera singer and flautist, discovering Ableton, and especially the Simpler, has been literally lifechanging for me. For many years previously, there had been music running around in my head but no way to capture it. Back when I first started composing music in my younger years, I had only an 8-track recorder with a CD burner. I tried to make new sounds on that using my voice or recording various things from around the house, but it was never the music I heard in my head. I sample sounds with my Zoom H2n recorder that I previously used to record my singing lessons on. I carry it everywhere with me, especially on the London Underground. When I first discovered Ableton and the Simpler, I felt almost feverish with possibility. Even to this day, I am dazzled by how it offers you the most incredible opportunity to make your own, totally unique instruments – even out of the subterranean sounds of the London Underground.”

Gregory Geerts creates evocative electronic music encompassing rich melodic content and ambient techno. “Minerals From the Crust” invites listeners on a sonic expedition inspired by the Earth’s layers, meticulously crafted using innovative Euro Rack modular synthesis techniques. The album uncovers deep textures and intricate patterns, hidden sonic jewels found beneath the earth’s surface, transforming geological marvels into a captivating auditory experience. Each track on the album acts as a sonic excavation, uncovering new timbres and rhythmic structures that reflect the complexity and beauty of the natural world. “With ‘Minerals From the Crust’, I wanted to capture the unpredictability and complexity of geological processes using the limitless possibilities of Euro Rack modular synthesis,” explains Strangebird~Sounds. “Every moment in the studio felt like uncovering a new element, a hidden frequency or a buried rhythm waiting to be revealed.”

In Cairn, Düngfelder’s focus on atmosphere and perception meets Beaudoin’s concern with time and memory, creating a dialogue where each sound becomes a trace left for the other to follow. What remains is a series of sonic markers, small monuments to attention, letting listeners linger on in the fragile continuations of sound.

The unpredictable and incredible sonic result of three inspirations, three experiences and three souls with one thing in common, the Southern Lands of the Argentinian scapes by the Rio de la Plata, where they grew up. OdNu, Mi Cosa de Resistance and mRn designed a mosaic of microscopic detail, atmospheric vastness and intimate melodies inviting the listener to stay, like that long lasting hug of fraternal love. These three musical amigos have poured out their affection for music into each note, each transition and each texture for the relaxing and precious respite of the listener, inviting each individual to an intimate travel to the sonic world of the Southern Lands.

“At the beginning of working on this album I had an idea of the feel that I wanted to achieve, but no clear direction. I had a piece which I was experimenting with that captured that feel and sent it to poet, Neil McRoberts, to get his thoughts. He wrote back; “when I put the track on, the initial sounds brought an image to mind of someone moving very carefully in an abandoned and crumbling building, perhaps stepping on the broken pieces of an old picture frame. I had the impression that the person had returned to the ruin of somewhere they had lived in the past and as the more melodic elements of the music emerged, with their beautiful melancholic melody, they seemed to embody the memories of the person, looking back with a mixture of sadness and happiness. That set of thoughts made brought to mind some of the abandoned homesteads that are scattered in the rangeland and corners of the valley floor.

Following in the tracks of Musique de Film I & Musique de Film II, Ümlaut’s new album, Musique de Film III, continues to explore the relationship between sound and vision. As a point of departure, this album presents a new creative direction in the evolution Ümlaut’s unique world. Each of the twelve audio and video tracks were created individually and simultaneously, with an overarching theme of perpetual geographies in mind. While the titles impart hints as to a song’s inherent meaning, room is left for listeners to discover their own interpretations. Simplicity is the key. For maximum sensual impact, songs are stripped down their essentials. Nothing is superfluous. The sound is futuristic, yet immediate, where being in the moment yields rewards. A palette of atmospheric colours and spectral harmonics lures the listener into a peaceful dimension of silence and harmony, where delicate field recordings and distorted textures are threaded with warmth.

Traditionally a real-time improviser, Thorn applies the same method here: live improvisation, spontaneous structure-building, and experimental mélanges of violin and code. Many of its foggy textures derive from Haze, a tool he developed for generating densely patterned lo-fi soundscapes. A sonic memoir imbued with violin and experimental code, a curious doubling of terms begins at the churning waters of Necarney Creek merging with the Pacific. Unfolding from pure lyricism into machinic textures, the music summons the verdant twilight of the primeval forest and the glow of the city lights it ad-umbrates. The machinic is both refuge and trial in this work, though the final word is the fracturing, hard-driven logic-become-logistics that may signal a morbid dénouement.

Central to the practice of remixing and collaborative creation is the principle of relinquishing individual control in favour of collective immersion. Both the remixer and collaborators must adopt a responsive and adaptive approach, prioritizing dialogic engagement with the material and the creative contributions of others. This relinquishment fosters an environment conducive to discovery, wherein the emergent work transcends the limitations of individual vision.

The act of remixing music and engaging in collaborative writing represents a transformative creative practice wherein existing auditory and textual elements are deconstructed and reassembled into intricate, overlapping layers. It is an intimate process and chance to get close to other artists and their work at a deep level.

Built on layered drones, fleeting percussion, airy melodies, fragments of piano, and richly textured field recordings, the album moves like a single long breath across ten seamlessly woven tracks. Neys constructs shifting sound patterns—overlapping, dissolving, re-emerging—that evoke a place just beyond reach, both familiar and strange. The music never settles entirely, instead inviting the listener to move closer, to listen deeper, to stay present.

I usually stay away from using field recordings of birds in my tracks, as I think it is a bit of a trope in ambient music. However, those moments where I sat in the small outdoor space that I have at my house, are very valuable to me and deserve to have a place here. Together with the lines of electric guitar that move in and out of this track.

Filament is taken from "Out of the Blue", Tomo-Nakaguchi’s third album on Audiobulb and marks a significant evolution in his sonic exploration. Meticulously crafting intricate soundscapes from a vast array of audio elements, this album showcases a new level of complexity and beauty. Ranging from serene ambient sounds to aggressive noise, the album takes listeners on an unpredictable sonic journey. With its rapid shifts and layered textures, each track feels like a rollercoaster ride through sound. The intricate layering of sounds creates a sense of floating through a cosmic expanse.

The antithesis of the dry, inharmonic textures of a ping pong ball, pitched, resonant timbres coalesce.

Through an effortless merging of two minds, their respective worlds of sound and experimentation are even further expanded in this new album. During the listening experience thoughts dissolve into open space. Michel’s interplay of instruments, electronics, tiny melodies and grainy decomposed sounds; along with Jeff’s tape loops, atmospherics, fresh textures and micro rhythms, flow seamlessly into a diaphanous river of sound. Listening is a joy. A true alchemy of sound and vision. “We were striving to visualize an abstract concept by weaving together our unique sounds. Imagine a bird flying over the water, swooping gently up and down, almost touching the surface, but not quite. Creating a pattern similar to the warp and weft of fabric, but in this case the fabric of sound.” — Michel & Jeff

Trembling echoes flow through glass veins like thick mercury, acidic drops seep through air coats, and boiling echoes freeze into amorphous resinous forms. The concrete block of the building hums with the cold rhythm of a repetitive arpeggio _io _io _io _io. The resin absorbs the vibrations of the synthetic flickers, and blue light wraps around its solidified structures. The chemical objects hum light melodies bouncing off the walls as they operate. Drones are born in the gaps, weakening as they come to the surface and giving way to liquid passages. Each tone is a fraction of a chain reaction _sin _io _sin _io, which emerges and weakens, appears and appears and fades away again. The artistic work of Jacek Doroszenko focuses on the relationship between sound and space, capturing the unique audio or audiovisual identity of the various environments in which one moves and realizes oneself. The audio track in his works refers to the characteristics of a location, thus referring, among other things, to the necessity of learning to listen and look in visual art. The sound elements of a chemical factory in the city of Ústí nad Labem became the core of the new work for Gallery 3, to explore the variability and possible complexity of the sound ecosystem of this place.

Somewhere between the hum of parallel pipes and the inaccessible laboratories of the chemical factory, the dissonant chords of liquids and machinery reverberate endlessly. The space in which these sound patches resonate causes reverberation and interference of multiplied tones. In this dense composition, it is the space itself that performs the sounds, reflecting and playing them back again, as if it were trying to perform an arpeggio. Sometimes these arpeggios merge into a sound mass and emphasize the acoustic pressure of the chemical space. The resin produced here has the character of a sonic glue, moving as if in slow motion and filling one vessel after another. Inorganic compounds exhibit a range of binding properties, as does this sound composition, where individual phrases are connected by invisible filaments.

Taken from Memory Scale - Chapter Five An album that oscillates between lush density and contemplative minimalism. It invites introspection, occasionally laced with moments of quiet euphoria. Fans of artists like Boards of Canada, Seefeel, and The Durutti Column will feel at home here, yet there’s a uniqueness to Memory Scale’s sound that resists simple comparison. From Cosmic Echoes to Earthly Whispers, there are some proper highlights. "Causes & Effects" opens the album with a gentle ripple of tones, building a sense of anticipation. It’s like stepping into a dimly lit cinema, waiting for the first frame to flicker to life. "Sense Data (Prelude)" and its full-length counterpart, "Sense Data", form the album’s cerebral core. The interplay of melodic motifs and shimmering textures evokes the cerebral yet emotional pull of Brian Eno’s ambient masterpieces. "Afternoon’s Echoes" feels like sunlight breaking through a canopy of leaves - both grounding and transcendent. The processed bass guitar and the pipe organ here lend a subtle, almost tactile resonance. "The Armillary Sphere We All Need" is a standout, its title as evocative as its music. The track is a swirling dance of harmony and rhythm, reminiscent of Dieter Moebius’s more melodic experiments.

A reflection of Neys's observations in nature, capturing the transient beauty of fleeting moments and the serenity found in stillness. "I wanted to convey the idea that our thoughts, much like the tides, are ever-changing and influenced by our surroundings," Neys explains. "Through this album, I hope to take listeners on a journey that resonates with their own experiences and emotions." A blend of evocative melodies and textured soundscapes, showcasing Neys's signature style of combining classical elements with contemporary influences. Each composition serves as a chapter in an overarching narrative, encouraging listeners to reflect on their own emotional tides.

Precise and focused, there are no accidents here. A pathway to a very personal world has been created—a world replete with intentional and conceptual connections. Randomness and selection define the edges of digital manipulation, atmospherics and textures. Distant synths and field recordings echo, transform and expand. Intricate details enter the headspace while sounds sketch a new landscape. As in poetics the variation of microstructures and artistic vision are both beautiful and isolated. Through deliberate and detailed production, the album calls forth a defined sense of place. Intentionally random sonic exploration has always been about transforming pure chance into something decidedly different. Without sound there can be no silence.

November is here and winter is showing its first signs. In this album called MÖRK, which means darkness in Swedish, Henrik Meierkord is exploring the deeper meaning of dark tonal depth together with his both classical cello as electric cello and other strings instruments, this time injected with his pedals, electric guitar and synthesizers as a unique sound. Sometimes you can develop a track by making a mistake, for example if a delay pedal locks itself and becomes a drumbeat by a strange sound. This means that a lot of the tracks are as a matter of fact improvised grounds that he later builds upon. This album needs you to inhale it as a whole and explore the evocative tones of a darker unconscious world.

Individuals shape their identity based on the values that are important to them. This process is dynamic and long-term, involving reflection on questions about self, life goals, values and the future. Contemporary approaches to identity assume that it is constructed and negotiated in response to changing social and cultural conditions. In the conflict over self-concept, multiple types of input can contribute to the total subjective value of each choice option. Interventions that increase the degree to which the target behaviour is perceived as self-relevant will improve self-regulation. Interventions that increase an individual's perception of their own actions as relevant will improve self-regulation.

The peaceful interplay of sounds evokes a hypnotic sense of movement. The listener is lured into a mind vehicle propelled by serenity and beauty, a journey unimpeded by the physical limitations of travel. Working in a lineage of musique concrète anchors one in the moment. Abstract, beat-less themes and atmospheric percussions interweave throughout the ambient drift and sizzling sound.

Once again Daniel Vickers and Sergio Mariani_MRN cross paths in the mysterious ways of this world. New Dawn is their sonic witness of the simple journey of a simple life, in which each day from above prepares us for the next one, learning love and mercy for one another into the way of peace, the ultimate, always hoped for new dawn. The music is a sweet and nostalgic flow of guitars, musical toys, field recordings and soft synth pads, steering up upon a deep listening experience, the latent and natural emotions of our daily life.

As an artist working with sounds that tend to be science adjacent, one phenomenon that I’m continually intrigued by is the concept of the dawn chorus – both with regard to the ornithological sense of the term, as well as the electromagnetic – not to mention the various confluences that the two may engender. In the case of the former, while not a birder, or at least not one as devoted as numerous colleagues, the avian dawn chorus is an interesting measurement of the ecological health of a region – simply put, barring some exceptions, more birds equals a healthier ecosystem – and on several occasions, one can track a noticeable difference in activity as human development encroaches farther and farther into the few remaining wild spots left on this planet. With that in mind, I find myself continually compelled to document these moments of birdsong whenever I can, which, in this case, typically manifests as an early morning activity (possibly triggered by my own personal response to the electromagnetic dawn chorus) that I typically start my day with while on holiday in the tropics.

We are thrilled to announce the latest musical exploration from renowned cellist and composer Henrik Meierkord who has teamed up with peers to revisit, review and remix his track Erinnerungen. Each artist is invited to bring their own memories and explore an interplay with Henrick’s original form. Henrik Meierkord's music has been praised for its emotional depth and technical brilliance, with Erinnerungen being no exception. Henrik Meierkord is taking a fresh approach to the composition by collaborating with other artists and reimagining it in a whole new light. The result is an innovative blend of classical and electronic elements that brings new life to Erinnerungen while still staying true to its core essence.

Afternoon Clouds is the first track from Neuro... No Neuro's Mental Cassette album. In this remix Autistici detunes the magnetic tape creating clouds of melodic moisture and droplets of static rhythm.

Reaching back to childhood, the sound of cassette brings forth moments in time long-forgotten. Utilizing melody to help remember, Mental Cassette gently cups dissolving memories; fragmented recall set out on softly unfolding cassette tape reels…

Taken from the album Ronroco Rococo Memories, an album of bubbling rococo ronroco arpeggios that exude melancholic melodies supported by the addition of synth sounds and field recordings. All of these elements takes the album outside of the world music realm and into an experimental micro sound and textural dreamscape full of subconscious memories from OdNu's Argentinian past.

Frameworks is an album that seeks to explore the emotional landscape of changing the lens of how you view the world. Studies have shown that most habits and beliefs are set by the age of seven. And yet, throughout life we sometimes undergo radical change. What does it mean to change the way you think? How does it feel to change the way you view the world? What does it sounds like to leave a part of you that you thought gave life meaning only to find a deeper and truer meaning. The tracks across Frameworks present a narrative arc of having a belief, relationship, ideal, or other foundational aspect of your life that is removed from your life. The album moves through the spaces of unease and tension, but ultimately finds itself in a new space of hope and calm. The music of Frameworks is built on a piano tuned, not to the traditional 12 tones of equal temperament, but rather to Just Intonation scales of the composer’s devising. Some of these intervals are as close as a sixth of a tone apart. At the beginning of the album, these microtones are utilized to show tension and discomfort, but by the end the listening ear becomes acclimated to them, and they are recontextualized by the harmonies to sound warm and inviting. This serves to further the narrative of the album as a whole. Throughout the album the piano is wrapped in granular processing, analog and modular synths, self-patched filters, and programmed beats.

Taken from the album - Café Tristesse which is a collaboration between Andrew Heath and Fernando Perales (Mi Cosa de Resistance). There is a gentle melancholy at play here set out by Fernando's lo-fi guitar, beautifully hesitant and fragile and Andrew's shifting textures and minimal piano creating clusters of melodic sound.

“Abandoned Spaces” merges both artists' distinctive sounds, talents and approaches to music making into an album that is full of otherworldly textures and melodies. Using a reductive approach to the compositions but with meticulous attention to detail Mazza and Düngfelder create jazzy vignettes that flow through heavily processed electric guitars, bass lines and drums that weave themselves into an ambient landscape of chiming micro sounds and ephemeral melodies. Songs flow into one another like water, which lends a devotional feel to the listening experience. In its truest sense, “Abandoned Spaces” is a tone poem. A merging of seemingly distinctive musical genres, it is an album of pristine sound design and unclassifiable style.

These tapes are a collection of new and old music by folks close to the Audiobulb family. Some were commissioned for this project specially and some were produced over the years in other contexts now collected and remastered here. Most recently I invited some friends and Audiobulb at large to have at a data dump of renders, stems and alternate takes. Quite a number of pieces feature from a segment of the EP "it's / a / hoot / to / mix / and / match". I had such plans for those trumpets but they never really materialized in "hoot". I'm really delighted that they've taken on a new life.

Perfectly executed electronic music. Motion, glitch with a smooth stability core anchored to multiple interior orientating points.

A sense (in Swedish ”förnimmelse”) is a biological system used by an organism for sensation, the process of gathering information about the world through the detection of stimuli. To this sense the brain can observe color, forms, heat, coldness, taste, movement, smells and sounds. But also in the unconscious we can experience things and perceive, like in a dream. While visiting an ancient monastery in Sweden I got a feeling or sensation that something beautiful and sad had happened there. I got inspired by these sensations and made music. In this album we will take a journey through these senses, from the world we live in, to the dream, the unconscious and things beyond words, sometimes a bit like music. It's an abstract experience… ”Knowing your own darkness is the best method for dealing with the darkness of other people” ”Your vision will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes” (C.G Jung)

"Antenna" is focused on glitching sounds.

R Abacus Lndr is a colourful collection of ambient glitch, an EP with 4 hauntingly beautiful tracks oozing a dreamy cinematic vibe that reminds of the underground arthouse scene. Often dark and mysterious by nature, the soundscapes evoke a deep and existential state of contemplation about the deepening awareness that there's an entire universe of understanding forever outside our reach. Questions only lead to more questions, boundaries are fading and behind every fallen curtain a new majestic world emerges waiting to be explored.

Edges is taken from the album ‘Swept’, an exploration of emotional turbulence, resilience and rejuvenation. Created with electric guitar, modular and analogue synthesizers and pedals, most of the sounds were recorded at the start of the global pandemic. The album is bookended with field recordings made from the artist’s garden in East London. It opens with the sound of tarpaulin sheets on a neighboring construction site swept by heavy winds during Storm Ciara, shortly before the first UK lockdown, and closes with the sound of birdsong after rainfall, signaling hope for better times.

Memory Scale, whose real name is Arnaud Castagné, is a French musician living in Bordeaux, specializing in melodic and cinematographic ambient/electronic compositions. Inspired by artists such as ambient pioneer Brian Eno, the 90s ambient scene, IDM, electronica and Krautrock, as well as the sounds of artists such as The Durutti Column, Dieter Moebius, Seefeel, Boards of Canada or even Tortoise (among others), Memory Scale knew how to merge these varied influences to create a recognizable style. Memory Scale tracks transport the listener into haunting soundscapes, evoking cinematic images and deep emotions. Delicate melodies blend seamlessly with atmospheric textures, creating an immersive auditory experience.

There is war in Europe. The Russian invasion of Ukraine has once again reminded us that peace is something we need to work on continuously. Sweden has not been in war for over 200 years, at the same time there are many people living here who come from conflict hotspots and areas at war. Parts of the Swedish population carry the trauma of war. Scientists talk about how it takes 4 generations to free oneself from the collective traumas of war. Those who have been living through the war are often silent, they struggle to survive, forget and return to normal life to protect their children, the second generation grows up with a feeling that everything has not been told, that something is wrong, and they begin asking questions. And so, it is transferred between generations and can thus be a hidden trauma.

Neuro... No Neuro creates his sounds as you hear. This is his sound processed by RETEXTULE WET.

Neuro... No Neuro creates his sounds as you hear. This is RETEXTULE DRY (no processing).

According to James Surowiecki, author of "The Wisdom of Crowds", for a crowd to be wise, it must meet four conditions, namely: diversity of opinion, independence, decentralization, and an aggregation mechanism. For this album, I gathered 60 different sets from a wide variety of sample libraries all over the world, and from these, I selected a total of 500 pieces of audio data. My goal was to use only these samples, editing them to turn them into musical compositions.

In Japanese, Yūgen signifies “a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering.” Yūgen suggests that which is beyond what can be said, but not as an allusion to another world. It is about this world, about this experience. The album cover and musical tracks were inspired by a piece of art that hangs in my bedroom. For weeks, as I lay on my back after surgery, I looked at the painting every day. It became a sort of meditative practice. Up until my recuperation, the meaning of the painting had eluded me. But over time, a closer focus on the artwork brought forth a revelation. The painting was about being reborn. New life, with no attachment to the past and no expectation of the future. A profound liberation of the spirit overtook me. Electronic sparks, intonations, chords, arrhythmic percussions, chimes and whooshes of sound free floated through my imagination… and “same but different” was born.

“The Long Night in Winter Light" is an album that began in the fall of 2021, just after the production of "Tayutau" was finished. Compared to its predecessor, which was characterized by a kaleidoscope of sounds created through a dizzying array of myriad material, this album was produced in a more restrained manner, with fewer effects and experimental sounds, and instead features strings and piano at its core. The resulting sound evokes a beautiful, majestic, and harsh snowfield. This world may still be in darkness. However, the beauty of the starry sky that we casually look up at seems to cast a ray of light on this world.