amazing textures and mix, very warm but squelchy

Well the moon’s on the move, and it’s soon going to hit the earth
And the foosball crew from the UN will lose in the end
And the news isn’t true, and the truth isn’t new, it’s the same
And the view’s out of use, so just screw anyone who needs the frame
You’re trying to get it but, you don’t
You’re trying to end it but, you won’t

Hey, lord
Hey, lord

I’m just trying to make it out alive my friend
The naked truth is that you’re out of line my friend
It pays to sue, but the countersuits might win
So don’t get fooled by the kind of suit I’m in
I mean I wanna do some stuff to you that’s kind of screwed up
I mean I’ll fuck you in two thousand ways like Kama Sutra
I mean I’m trying to do my part, and you are what? Who knows
It doesn’t matter if you’re true or not, you know
You’re trying to sit it out, but you won’t
We got the city now and, you don’t
You don’t

Ends Meet

Airy Eruption

workinprogress/atleastsomethingnew:-)

Image created by me.
https://www.deviantart.com/leehon/art/Clogged-Mind-945020182

Failed Distractions

I Really Like You Silver Girl

Work for Woodwinds and Percussion

My Method of Composing and Producing

I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Suite for Woodwinds and Percussion No. 1

Suite For Woodwinds and Percussion No. 1

Remember the magic of the childhood and the wild days. It might still work. 
Written, performed and recorded by Neli CoKo, 2025, all rights reserved. 
Thank you for listening :)

Lyrics
When we were young, we were able to fly
No fear no doubt, pain just passed by

Remember The Magic

The world was big, a space for dreams
It was crowded by possibilities

Remember The Magic

We made some miracles come true
What you desire and what you dream is up to you

Remember The Magic - Neli CoKo

Funny Kind of Sad

thanks a lot to Jeffrey George, who gave his permission to mix his space junk with mine. When I heard his version I got the idea of sound and vision, that two or more junk parts collide in space, run forward, backward, faster, slower... and I like to puzzle these parts  on my 8tracker, Hercules starlight controller and Koala handy-sampler together, it was a lot of fun

you may also hear the original tunes

https://jeffreygeorge.bandcamp.com/track/space-junk

https://on.soundcloud.com/zDkUV5WBiuF1hUyVA

https://on.soundcloud.com/74C5BQjJ44AmaSNk9



two space junk parts collide

@TexMex-Shaman of the Eclectic Collective had the cool idea to add a short hambone performance to the 'Country Ham' track he wrote and invited us to play on. He originally asked if anyone would like to try, but with no takers, he did it himself. I wasn't familiar with the term before but once I heard him perform it, I realized it was something I'd tried before too, and asked if I could take a stab at it after all. You hear it at the outro of the song as the music fades, but this is an isolated recording of just the hambone stuff - in this case boot stomps, hand & body slaps, and vocalizations. Thanks Tex for this awesome song, and teaching me this technique rich in Southern tradition. As a percussionist, this was a treat to record!

Here's the original, full song from The Eclectic Collective:
https://on.soundcloud.com/sVaGRayWtDCbR63v6

More goodies in the "ISOLATED TRACKS" playlist:
https://soundcloud.com/user-432503709/sets/isolated-tracks

country hambone (ISOLATED hambone demo)

Having doubts can feel uncomfortable, but it can also be helpful. Doubts can stop us from becoming too confident, push us to become better, and help us understand things in a deeper and more thoughtful way.

Who is he

Welcome to my dark ambient/electronic/experimental fears and desires.

Dummy Run EP
https://soundcloud.com/backwardstransmission/sets/dummy-run

Invaded By Darkness EP
https://soundcloud.com/backwardstransmission/sets/invaded-by-darkness

Taken EP
https://soundcloud.com/backwardstransmission/sets/taken-ep

I Really Like You Silver Girl

Backwards Transmission

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World's Museum

ELREN

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