This piece unfolds like a breath made visible — structured, intentional, yet deeply human in its fragility. In the opening, we see repetition rooted in the lower registers, almost mechanical yet comforting, like the steady rhythm of a clock marking each second with devotion. These patterns seem to echo the mundane rituals of life, the unnoticed beauty in routine, the sacred silence of presence.
As we move forward, a gentle escalation begins. Notes rise, one after another, reaching toward something unseen. There's a yearning here — a soft insistence — as if time itself were stretching, holding its breath. Then suddenly, the lines splinter upward: sharp bursts of high notes like thoughts breaking through stillness, or memories surfacing with urgency.
Midway through, this breath becomes restless. The motif repeats with variations, suggesting reflection, perhaps even inner conflict. The density increases, not chaotically, but like a mind trying to grasp something just beyond reach — a moment, a feeling, a forgotten truth.
Then comes the climb again. But it’s not the same as before. This time, it carries wisdom, as if the breath has learned from its own rhythm. The final ascent is quieter, more deliberate, like a farewell exhale — tender, aware of its own impermanence. And finally, the descent: a peaceful surrender, a return to stillness, where time no longer counts — it just is.
Written and composed by Jessica Bains Brown & Francesco Adornetto

A Breath In Time

"The contemplation of beauty causes to soul to grow wings"
- Plato

Contemplation

The broken heart of a girl sitting at the piano, trying to free the tears but nothing comes. The rain fills the air with comfort letting her know its ok to cry.

the Rain

Things happens at times, then it repeats and then it repeats.

Hello From A Moment In Time Now Lost

perfect match

A-Der Schmetterling

Haven’t been on the cloud much lately. Been travelling across the southern Australian coastline, to the beautiful and remote Kangaroo Island. Its beauty seemed strangely juxtaposed to the horrors going on elsewhere. The contrast can wreak havoc with your moods!

Haunting Moods of Change

one clear day

On April 15, the last remaining hospital in Gaza was destroyed. To date, 50,000 civilians have died, of which 15,000 are children and another 34,000 children have been injured. (source: Unicef).
Due to the almost total displacement of the population in refugee camps where food and water are scarce, the lack of hygiene, of medical facilities, it is predicted, with a very conservative estimate, that in the end the civilian deaths related to the conflict will be four times as many (source: Lancet).

Thanks to my dear friend @Rosindust at violin.
Here the other collaborations with Tatiana: soundcloud.com/francescocartocci/sets/grazie-tatiana

Composition and all arrangements: Francesco Cartocci

Who cares - with Rosin dust

I wrote this song 15 years ago for close friend and guitarist Elmer Stone. Elmer and I have collaborated on three songs on Soundcloud but this one is purely a tribute to him and the friendship we have shared for the past thirty-plus years.  It is also a memorial for his wife Bonnie who he lost two years ago. She was a core contributor to his music, life partner, and his best friend.
I am indebted to Mike Fox and Axel Meningen for taking my rough demo of the song and making it a broadcast quality production.  Thank you gentlemen for your time, talents, and belief that the song could be more than I could ever make it on my own.  Hear more of their amazing music @michael-fox-925325997 and @axel-m-501052973  
Good Ol' Boy
Lyrics:
He's a good ol' boy with his good ol' toys,
He likes a beer now and then.
He picks a guitar and dreams of going far,
Don't know the how, or the where, or the when.
The boys in the band play as hard as they can.
And they hitch their wagon to the star,
Of this good ol' boy, this good ol' boy.

He keeps house with his wife, the love of his life,
The kids are all grown and gone.
By the gray in his hair you can tell he still cares
'bout the things that are right and wrong.
And the question comes does it get better than this,
A hard days work and a goodnight kiss,
For this good ol' boy, this good ol' boy.

Bridge:
Well it hasn't been easy, no it's never been easy
But he keeps on keepin' on.
And what hasn't killed him he finds a way
To put into a song, 'bout this good ol' boy
This good ol' boy.

Instrumental break, repeat bridge.

He's a good ol' boy with his share of joys,
And his share of the cares of this world.
When it's all said and done, and his race has been run,
And he rests in the arms of the Lord
Of this good ol' boy, this good ol' boy.
Instrumental to the end.

Good Ol' Boy (Mike, Axel, David)

This is a track we help promote because we find it pleasant! https://open.spotify.com/playlist/0J7EFptNh6K6Qebrsrcx8d?si=ae32df247fdd4a1d

Abaluna

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.

perfect match

Chris Bright

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