Far Away

"1986.
What were your parents like before you were born?
Yuri, the factory worker.
Yelena, literature graduate.
Met in school, then moved together.
Gomel was their Eden until one fateful day.
It was a rumble, a southern gale.
Rumours of a disaster made them leave their home.
A year later, Masha was born".

Gomel 84 - From "MARIA"
Music composed by Thomas O'Higgins Horna
Produced at Kolima Forest Studios.

Poster photo retrieved from Pro Stock Tennis,
Edited for a movie that most definitely exists.

Full EP available on bandcamp:
https://thomasohigginshorna.bandcamp.com/album/maria

This track is not to be used to train AI.

Gomel 86

Full EP on bandcamp

Wet seeds -   10 - 1-2025

Cosmic Haiku #1 for Mellotron (Tubular Bells, Cello, French Horn, and Violin) and SOMA Laboratories COSMOS. Recorded January 27th 2025 in Naperville IL USA.

Monday January 27th 2025 Cosmic Haiku #1

This fugue starts off from A minor to Bb major, and then to B major. This chromatic modulation is reflected in various other use of chromatic lines in key points throughout the piece. The piece wanders into another unexpected key, for which the cadenza acts as a means for the music to find its way back to the original key.

(The playback in some of the viola lines are not as even as I would like, but this is all I can do in the app that I use.)

Fugue in A Minor, with a Small Cadenza (for Viola and Piano)

#hiphop#trapbeat#newbeat#beatsforsale#musicproducer

FLEX KEVBEAT.mp3

lyrics “rain” by doc, steff and gracie-v
(dedicated to our loved ones, in this life or the other)
xxxxxxxxxxxxxxxxxxxxxxxxx
can’t get you outta my head
i really miss our life…together
you always told me that
rain cant keep falling… forever
doubts dont have room in my heart
hate don’t have any place…any more
love’s ending is the same as the start
i love my person with all of my heart
-
here we go
last one there buys a drink for the other
hold on
first one there tells the other bout life 
hold on
last one there buys a drink for the other
hold on
first one there tells the other bout life
xxxx
i let the sun shine again
since i understood life… better
i let my fears wash away
rain cant ever be… forever
no fear is left in my heart
no regrets are here…anymore
love your neighbor like you love yourself
love your persons with all of your heart
-

here we go
last one there buys a drink for the other
hold on
first one there tells the other bout life 
hold on
last one there buys a drink for the other
hold on
first one there tells the other bout life

xxxx
can’t get you outta my head
i really miss our life…together
you always told me that
rain cant keep falling… forever
doubts dont have room in my heart
hate don’t have any place…any more
love’s ending is the same as the start
i love my person with all of my heart
-

here we go
last one there buys a drink for the other
hold on
first one there tells the other bout life 
hold on
last one there buys a drink for the other
hold on
first one there tells the other bout life

i let the sun shine again
since i understood life… better
i let my fears wash away
rain cant ever be… forever
no fear is left in my heart
no regrets are here…anymore
love your neighbor like you love yourself
love your persons with all of your heart
-

here we go
last one there buys a drink for the other
hold on
first one there tells the other bout life 
hold on
last one there buys a drink for the other
hold on
first one there tells the other bout life

"rain" original

addic

89 - Ruined Fates

considering light

This is music for the chapter titled "The Value of a Letter" in the book being written "Inside the Forbidden Outside' due out by the end of the year.  The book is about the life of Jamie Cummings, who has been incarcerated for for 14 years - a gentle man with epilepsy who has never been allowed to touch his son even one time.  The book is about the injustice and racism of our prison system in the US.

Silence Is So Loud

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

considering light

Chris Bright

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