She sought love from the same woman over and over again and was rejected each time. Her answer is always the same whether she proposes the first time, the second time, or the third time. No!
"Then why did we always enjoy chatting so well?" And why does the feeling of my long-gone love never fade away?

No matter how many times I propose, her answer is no! (263)

This track was inspired by life in the mountains, the Alps, the snow, the high peaks, the simple life...

best 🎧

Living in the Alps

In a place of darkness it takes one spark to light up the space.

Sparkle - Valentino

The end of the beginning

...organise des images qui ne rendent rien sur photographie ; les verts d’imprimerie s’y confondent et ratatinent le beau.
***

credits

catalogue : muzakorderEP0014

recording(s) : fhauna

mastering : Cyril Meysson

---
fhauna.bandcamp.com/album/strange-s…-to-dance-apart

strange-silence-to-dance-apart

gnozea (& the shell)

Gnozea (& the Shell)

A fluid ride on the Zebra with a broad selection of synths saddled on.
All instruments Peter Hofland
Artwork: Max Drekker

Sequence

dual world on Bandcamp

missing pieces

continued exploration hip hop beats with tascam 2400
moog matriarch (bass and synth flows)
moog muse (voices)
moog dfam (intro & outro)
moog subharmonicon (synth flows)
roland jupiter xm (synth flows)
make noise resynthesizer (fills)
slate digital condensor (voice sample)
ableton (beats)

now 99

Cast of characters:
TexMex Shaman– @texmex-shaman –Stephen– Taylor T5z acoustic guitar, Tom Anderson Custom T electric guitar, Gibson Earle Scruggs banjo, Eastwood MandoCaster mix, mastering, production, and composition
J.J. Terrell-- @j-j-terrell—JJ-- organ
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Fender Precision four string bass, played with a plectrum 
Mistermark-- @user-432503709 -- Mark – harmonici, jaw harp, timpany, hambone percussion, and production editing     
This song began with Stephen, who recorded it on his acoustic guitar and bass to a programmed drum track a few months ago. We were all thrilled to work on it, even though it sat in BandLab as a project for almost a month before Stephen separated the tracks, thus allowing us to trickle in our parts. JJ was first to jump on it, because he could before the tracks were separated, as his part is completely his idea. He added the organ that really set up the entire sound of both dominant sections of the song. 
  Ken was first up to the project once the tracks were replaceable, making the wild, driving beat his own. Inspired by both JPJ and Michael Ivins, Josh laid down his bass line, trying to match Ken's energy. Last, but not least, Mark jumped in with the rumbling timpani. He also added the flavorful harmonica, and unique jaw harp you hear throughout, as well. Finally, Mark also got the idea to add the hambone percussion at the end of the song, too, which we all consider a treat. Stephen wasn't done with it, though, and still had some magic to sprinkle. He went in and added the howling electric guitar you hear prominently in the second main section. Also, he added the tempting intro with his acoustic guitar and electric mandolin that looks like a Telecaster guitar. 
  Once it was in the bag, we thought it appropriate for our master mixer Stephen to put it to bed, which he did in his always expert manner. Mark did help with the production, though, as he's very good with editing and spotting mistakes that need to be corrected.
  This is a gift from Stephen to all of us, and you, too. It took a lot of teamwork to make the dream work, as always for Eclectic Collective. We hope you enjoy listening to this as much as we enjoyed creating

Country Ham-Eclectic Collective

Make it all Count

Sit, stay, don’t move — good boy.
Yeah, that’s right, good pup

You wag your tail when I walk by,
Eyes wide, waiting for a sign.
You want praise? Then earn that line,
Heel to the rhythm, follow mine.

Every beat, you beg for more,
You want a treat? You know the score —
Dance for me, boy, that’s what it’s for.

You’re a good boy, good boy, yeah,
Don’t stop now, stay right there.
You’re a good boy, good boy, uh,
You only move when I say “go.”
You’re a good boy, good boy, yeah,
Sweat drippin’ like a collar’s snare.
You’re a good boy, good boy, oh,
And I’ll tell you when it’s time to let go.

You breathe fast, chasing the bass,
Tongue out, lost in the race.
Don’t speak — just feel the command,
Hands up, knees down, understand.

Every beat, you beg for more,
You want a treat? You know the score —
Dance for me, boy, that’s what it’s for.

You’re a good boy, good boy, yeah,
Don’t stop now, stay right there.
You’re a good boy, good boy, uh,
You only move when I say “go.”
You’re a good boy, good boy, yeah,
Sweat drippin’ like a collar’s snare.
You’re a good boy, good boy, oh,
And I’ll tell you when it’s time to let go.

I snap my fingers, you obey,
Night turns red in the light I play.
If you’re lucky, I might say —
“Good boy,” one last time today.

You’re a good boy, good boy, yeah,
Hands high, no shame to wear.
You’re a good boy, good boy, oh,
Now bark it back before you go.
You’re a good boy, good boy, yeah,
Move when I tell you where.
You’re a good boy, good boy, mm,
Now roll, baby — play the tune.
Cover image for 
Sit, stay, don’t move — good boy.

You’re a good boy

tryin' to compete with AI

vocals: me, @laetitia-moreni, and/or Synthesizer V

also as Kul Feryadi (Post-punk) with @assmoothasas

releasing regularly — stay tuned

Make it all Count

a sine a square