songs used:
    Clay Young - Pickle Party
        https://soundcloud.com/clay-young-360347153/pickle-party
    Clay Young soundcloud:
        https://soundcloud.com/clay-young-360347153
    Clay Young instagram:
        https://www.instagram.com/clay.young.961/

   TsArWiCc - Come here
       https://soundcloud.com/tsarwicc/failureishere
   TsArWiCc soundcloud:
       https://soundcloud.com/tsarwicc
   TsArWiCc yahoo:
   Tsarwicc@yahoo.com

Clay Young & TsArWiCc - Pickle Party (dj Baubau Remix)

Symphonic Nature

Symphonic Nature ( Collab DAMGA)

DAGDA // When the father of the Celtic gods drops by ...
@docfritz // Composition, Arrangement, Soundscapes, Drums, Artwork, Mix & Production
@toni-fatu // all extraterrestrial guitars
© 2024 | OESJ | ORCHESTRA OF ELECTRIC SPACEJAZZ

DAGDA (feat. ToNi FaTu)

Quantum Flux

This first track of the backlog of the fictional witchpunk mannequin band The Cacklettes was created using a variety of tools, synths and instruments.

I am working on an album for this freaky lot. Why? Because it's a heck of a lot of fun. Trying to recreate some goth club memories from the 1990s. Building a band that should have been. It incorporates all sorts of elements from music I've experienced in various states of inebriation, leaving a lasting impact. And here I am sharing that experience.

Also, The Cacklettes are somewhat idealistic, and this here track really is reaching out to end the war (in anyone's soul), to cut divisiveness, to become human again. Rich, from a fictional mannequin band.

The Cacklettes: End The War

Naviar Haiku 529

A distant mountain
Seen in the sunlight:
A desolate field

Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time.

Kyoshi also highlighted the symbolic function of the kigo (the seasonal reference), even though the more modern trends were already tending towards seasonless haiku.

Haiku by Takahama Kyoshi

Picture by Alessio Soggetti

Mountains Away from Here

Mountains Away from Here (NaviarHaiku529)

They're Thumbs

Solo Piano - Chris Bright

looking up - 3:6:24, 6.00 PM

Sometimes, it's not so bad to be caught out in the open...
__________
Check out some of my scores: https://www.youtube.com/watch?v=HXkqDr_oE3E&list=PL5zoWP8Ag0kZoNbYuYaKRZIVXOpoNRuC7
__________
Unfortunately, a battery showed itself to be damaged when I filmed this and I'm still working on replacing it.  Otherwise, this was a pretty fun flight!
__________
Malachi 4;6 NKJV
[6] And he will turn The hearts of the fathers to the children, And the hearts of the children to their fathers, Lest I come and strike the earth with a curse.”

https://bible.com/bible/114/mal.4.6.NKJV
__________
At Lion's Mane Orchestra, we make Drone Films, Soundtracks, and Fantasy Music!  Enjoy!
__________
Music By Peter Iverson
Unpublished work copyright (c) 2025 by Peter Ian Iverson

SoundCloud: https://soundcloud.com/udrianshasg
YouTube: https://www.youtube.com/channel/UCWEM7RavwpFHF4GZnD1Kj0g?sub_confirmation=1
Rumble: https://rumble.com/user/LionsManeOrchestra
Odysee: https://odysee.com/@lionsmaneorchestra:4
Facebook: https://www.facebook.com/Lions-Mane-Orchestra-107413867616782/
X: https://x.com/LionsManeOrc
Minds: https://www.minds.com/lionsmaneorchestra/

Out in the Open

Loveless

call me soon 9.19.25

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.

looking up - 3:6:24, 6.00 PM

Chris Bright

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Magi©ian™ (Making music make a difference)

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