Mitja Reichenberg

(Classica Slovenica / Kulturni center Maribor, Javna muzika Maribor, CSCD 010 / FREE CD 086, 2023)

Record label, Classica Slovenica under the auspices of the Kulturni center Maribor released CD album Invisible spaces of stardust.


It is a journey through galactic dimensions of the invisible, as music and sound are elements that create these unseen spaces, which is done by describing completely imaginary and fantastical visions of the most popular stars or planets. The material utilizes rhythmic and sonic elements of trance, or psycho-hypnotic frequencies, which can activate states resembling sleep-like meditations, auto-suggestive, and hypnotherapeutic effects, allowing for travels to various fantasy realms. The suggestive power of sound can induce bioresonance reflexes, while the deep stereo method of montage (depth-stereo 3D) and related sound design produce the best effects when the audio material is listened to directly through closed headphones. A significant portion of the material is also created using ASMR techniques, which adds an important dimension to the overall sound. The journey begins on Earth and, of course, ends there as well.



1. Polaris (8:25)

The journey begins amidst the hustle and bustle of Earth, gradually ascending into the cosmic void, immersed in the sound of the dark expanse of the sky. The composition built on alpha and beta waves emphasizes cold interval relationships, and it also offers ASMR experiences. The rhythmic balance of pulsations can have hypnotic effects, which is further intensified by the gradual transition of ultrasonic frequencies and nearly imperceptible pulses just above 15 kHz.

2. Sirius (6:56)

The brightest sonic segment is crafted in the red wavelength, utilizing a red noise spectrum that bears some resemblance to pink noise, but with distinct spectral content and proportions. This noise is also used in hypnotherapy to enhance the effects of the REM phase. The composition culminates in pulsation.

3. Alpha Centauri (7:14)

A meditative rhythmic pattern of 80 bpm allows for the development of ASMR sonic colors associated with this binary star system. The combined dual frequencies continually create a third sound wavelength, an interference tone below our hearing threshold in the infrasonic spectrum; below 15 Hz. Thus, the meditative journey continues.

4. Betelgeuse (7:13)

Creating the sensation of a colossal sound is achieved through a dual audio pulsator, generating a form of hyper-bioresonance—a multisensory effect on the body through sound—conveying a sense of wholeness and tonal enormity. The sound design of this star is particularly suitable as a multimodal stress, anxiety, and negative thought regulation model.

5. Rigel (6:11)

The blue light of this star is captured within a rhythmic loop structure in the spectrum of blue noise. We incorporate ASMR units of fine dust, sparkling in the sensation of distant light, all leading to a pleasant vibration of experiencing the blue wave spectrum.

6. Vega (6:09)

The white light of this star serves as the foundation for utilizing white noise, a signal named by analogy with white light due to its flat frequency spectrum. As it also encompasses a disk of stardust, we employ the ASMR technique of sand streaming and levitation, enhancing the sense of the magical effects of balneotherapy, bathing in mineral water, or the rustling of air.

7. Antares (10:24)

As the final destination of the journey, this sonic space is dedicated to a sort of antihero of the red planet Mars, the mythological god of war. Returning to red noise, pulsators, and sonic loops of a meditative model, the sonic contemplation of the journey concludes with a disillusionment of space, transitioning back into the everyday hustle and bustle of Earth, and finally arriving at a nocturnal seaside where we peacefully observe the stars and planets from which we embarked.



Born on September 25, 1961, in Maribor. After completing Secondary Music School (with excellent results – exempt from the final exam, received a state scholarship for exceptional talent), he graduated from the Academy of Music in Ljubljana in 1984 with a degree in composition (prof. Dane Škerl). He then worked as a lecturer for piano and specialized subjects at the Secondary Music School in Maribor (teaching subjects like harmony, counterpoint, musical form, and the sociology of culture). From 1986 to 1990, he served as the head of the Secondary Music and Ballet School in Maribor. In 1998, he obtained habilitation at the Faculty of Education, and from 1990 to 1996, he worked at the National University Library of Slovenia as a librarian and specialist in music and film. During this time, he established an independent audio-video department and served as the assistant director. For twelve years, he was the artistic director of the Maribor Octet, with which he received numerous recognitions and awards, including the Glazer Award of the City of Maribor. He also conducted the Slava Klavora Male Voice Choir and the Domžale Chamber Choir. Furthermore, he pursued additional education and traveled extensively around the world, including Hungary, Austria, Italy, Germany, France, Switzerland, Ireland, Florida, Mexico, the United States, Canada, and Japan. He explored and immersed himself in music and film in various forms, ranging from working in film studios as an arranger, composer, and studio musician to incorporating ethnic elements and contemporary installations.   



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