Mixed for Lillithe

Neuer Track kommt vielleicht aus Album electronic Car 4

Viel Spaß beim Hören und lasst gerne einen Kommentar da, dass würde mich sehr freuen
Euer Enrico

Shaper [original]

Credit goes to Klankbeeld of Freesound.org for the recordings of Fort Kijkduin...

Beyond the Netherworld (2023 Remix)

Voice…Rupert Spira
Voice Manipulation…Spacecraft
Drone… Crave

… A I …

Jolene (Cover)

H-Váci Street

Video,  we never thought you'd go away
And even CD's gone forever now

We digitised it, can't say it's not a lot of fun
But we will remember all those days

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We don't know, why humans are all so sick?
It's PFAS in the water, man
Leeching into the food chain, 
Taking our humanity
Will fighting fires cost more lives now?

The answer is yes
The answer is yes
The answer is yes
The answer is yes
The answer is yes  yes  yes  yes

The Answer Is Yes - Eleyan Di Palma

A minimal mix of See - Wildsilences - for open collaborations.
https://soundcloud.com/herronsound/wildsilences-see Posted as an intro or outro for Wildsilences See Indi Wild Moon, separated so it can be both, but also for it's potential to be expanded.
mix edit 05/27/23

See - Intro - Open Collab

Transient

Played around with some Guitar Rig effects. Great plugin <3

Recorded with Fruity Loops

Viel Glück

Mesmerizing play from the guitar with a solemn voice calling accompanied with an orchestra. No Point in Returning is composed by Jane Johnson.

No Point In Returning

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

When related to the scale degrees of the major scale, it reads:  1 – ♭2 – 3 – 4 – 5 – ♭6 – ♭7 – 1 The sequence of steps forming the Phrygian dominant scale is:  half – augmented second – half – whole – half – whole – whole Traditional use This scale occurs in Indian, Middle Eastern, Eastern European, Central Asian, and flamenco music. It is common in Arabic and Egyptian music, in which it is called Hijaz-Nahawand or Hijaz maqam, and used in Hebrew prayers and Klezmer music, where it is known as Ahava Rabbah, Freygish or just the "Jewish scale", and is called Dastgāh-e Homāyoun in Iran.[citation needed] It is the most common scale in North Indian classical raga Hijaz Bhairav (Basant Mukhari) and South Indian raga Vakulabharanam.  It is sometimes called the Spanish Phrygian scale, Spanish Gypsy scale (see: gypsy scale) or Phrygian major scale (see: phrygian mode and major scale) and is common in flamenco music. It can also be found in traditional Spanish songs outside flamenco, everywhere in Spain to varying amounts, but especially in southern and central areas of the country, often being also known as escala andaluza (Andalusian scale) in Spanish.

Summer Dreams

Hijaz

BOXY / DCOMPOSEUR - KARMA DRAMA - DCOMPOSED - POSITIVE

Identity

Mobility Prism Mourns Sonmnambuilism Priority

It’s very unfortunately when pain feels normal, when dysfunction is routine, and agony okay. Absorb the truth that all are unacceptable.

When we open the curtains that shadow our fireflies, let their light glow alongside infinite others, no pain is too great to release. And by doing so, someday soon the well of miserable sadness will go dry.

Sometimes we’re ready to move on.
Sometimes we’re not.
Sometimes we’re past due.

Drop out of light speed when the jump is over.

Synthetic Mixer, Volume Three

Someday soon

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Transient

Anthony Cutrera Morales

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