Walking towards paradise (1-2024)

The Earth Love

Glimmer (Psy Trance Dance Remix)

Oh Yeah

Oh Yeah (Roxy Music cover)

Epic, Cinematic and Orchestral Music
Picture by jhantares
Music by Franck Charles ©
ASCAP
https://www.youtube.com/watch?v=b5vp_FXwNEg
Version 2024

Sandstorm

what if machine

Words and Music by Edvard Grieg
Vocals and Instrumentals by Layna Claunch

Der Winter mag scheiden, der Frühling vergehn,
der Sommer mag verwelken, das Jahr verwehn,
Du kehrst mir zurück, gewiß, du wirst mein,
ich hab es versprochen, ich harre treulich dein.

Gott helfe dir, wenn du die Sonne noch siehst.
Gott segne dich, wenn du zu Füßen ihm kniest.
Ich will deiner harren, bis du mir nah,
und harrest du dort oben, so treffen wir uns da!

The winter may wane and the springtime may fly and the springtime may fly
The summer may depart and the year may die and the year may die
To me thou wilt return, thou art mine soon or late art mine soon or late
I gave thee my promise and faithfully can wait, and faithfully can wait

God watch over thee at the dawn of each day at the dawn of each day
God bless thee every time that thou kneelest to pray that thou kneelest to pray
I will tarry here for thy coming my love thy coming my love
Or if thou wait'st in heaven I'll meet thee there above
I'll meet thee there above

Solveig's Sang

Laurie is someone more than a vocalist to me. I come back to this song very often - it’s a great sentiment. I wonder if the bass is pleasant but noticeable and captivating. If everything complements Laurie’s amazing vocals, and if the dynamics have been preserved. Most importantly, the unique atmosphere. Maybe it’s not about any improvement, but about constant exposure to this recording that I really care about and am proud of.

Full version: https://soundcloud.com/a-d-r-i-a-n-o/trance-heaven-hypnotic-mix-feat-lollievox

Vocal by LOLLIEVOX >>>>  https://soundcloud.com/laurie-webb
Photo by STEVE SOARINGOAK
Music by ɅƉﺍꝚﺍɅNƠ

LOLLIEVOX & ɅƉﺍꝚﺍɅNƠ - TRANCE HEAVEN (2024 SHORT MIX)

Solo Piano - Chris Bright

days to come - 5:12:24, 7.33 PM

I wondered what this accordionist portrayed by a friend of mine was playing and where he was. I then decided that he was at ‘Acqua dei Corsari’, a beach in Palermo that had already been a landing place for bands of corsairs who had discovered a spring of fresh water here. And so the beach, which had become a suburb of Palermo, had a nice name.

Acqua dei Corsari (final draft)

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Frustration

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About Us

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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.

days to come - 5:12:24, 7.33 PM

Chris Bright

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