this is amazing ♥️😍 check mine plz

Very powerful bass line and an atmosphere reminiscent of NIN in the good old days. How could I not like that? 😍

I your sexy night vibe!! A spanking good time, I say!!!

Dig the rhythm, great groove & vibe!🥁🍭🥳

i listen 2 times.. the other too.... big ;)

*** Thanx to All who got this Track to 100+ Listens!! Much Appreciated!!! ***

Migratory Bird  (Τhe hope)

Falling (Instrumental)

And Kansas City Shuffle

ephemeral

In commemoration of the 20th of december, 1989, the day when the United States government invaded Panamá and ousted the country's military dictator, Manuel Antonio Noriega, the Government of Panamá recently decreed this date as a National Day of Mourning, to be commemorated yearly.

Panamá's citizens would do well not to regard this event in isolation.  Preceding the U.S. invasion, Panamá went through over 21 years of military dictatorship.  The dictatorship in turn was the result of years of questionable leadership and politics and a self-serving ruling elite and political class.

The way things are going today, almost 33 years later, it would seem these lessons were collectively not learned to the extent that they probably should have.
"Aquellos que no pueden recordar el pasado están condenados a repetirlo."
(Those who cannot remember the past are condemned to repeat it.) 
-George Santayana

The song uses part of a melody by Avelino Muñoz and drags it across the entire length of the song.  The melody is part of a piece of Baile Típico, one of the main genres of Panamanian music, on which in turn the main theme of RPC, one of the country's regime-sanctioned TV stations during late 70's and 80's -- the heart of the dictatorship era -- was based.  The theme was thusly ever-present during those years that I was growing up and to me thusly almost synonymous with that dark yet wondrous time.

Los Años De La Dictadura [REMASTERED]

Finding some old Tascam 4 or 8 track (cassette) recordings of songs from the late 80s/early 90s when Morry and I recorded during summers back from college and after, when we lived together in an apartment in 90/91ish...and played out as a duo occasionally. We had a lot of influences but seems like many songs from this time had an XTC influence. We were in our late teens, early 20s so my memories are not that sharp :) Mix has some blend issues but fun to hear these again. Hope you enjoy. Not sure why we called it Lady Lexus...maybe Morry will remember and comment. Morry wrote this song.

Sleep

Lady Lexus - Original

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

Much Appreciated

K G G - Voodoo Train

Rise the Rocker

Rise The Rocker From The Grave (VOCALS AND LYRICS DRUID667)

Wave Rider

(In the voice of Rod Serling) Submitted for your consideration: Various Sounds that have been liberated from the dark recesses of an entirely too populated well of Sonic Oblivion. I hope you enjoy what you may find here! Feel free to comment if you do … 🙂  

“These are my friends. I make them!” - J. F. Sebastion, in Blade Runner

( Ubiquity9 is the creative channel of a biological entity )

Aspires to read ‘All the Feels’ by Mara Carlyle …

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“You see, there are still faint glimmers of civilization in this barbaric slaughterhouse that was once known as humanity.” 
Gustave H. - Grand Budapest Hotel
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Note: Will occasionally misuse words in comments where context may be important. Should I do so, please forbear the fumble and let me know. I only leave what are intended as positive comments. Negative comments are never worth writing.

Note(2): Can be slow to respond to DMs. Thanks to SC’s recent innovations this has improved somewhat this year. That said my apologies, in advance, should that happen …

Email: tenth-runes0q@icloud.com

And Kansas City Shuffle

Ubiquity9

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