2023-04-07

Slow Passing Time

I'm not for you

© 2023
A track about the coming of A.I. and the ramifications of technology run amok.

Lyrics
Just a cool cat, with a knack for code
             In the Valley, it never gets old
             On the mailbox, (read) Peter Chen
             Knows where he's goin', just doesn't know when

             He's pretty sharp, with lots of skill
             Nose to the grindstone, works for the thrill
             He's got a system, that can learn and grow
             He's up to speed, He's on the go

             He doesn't know what he's messin' with
             Doesn't know that he is losin' his grip
             He thinks he's winning, but that's just a dream
             It's just a cheap imitation of the real thing
 
             Then he wakes up, sees the truth
             His precious system gone rogue and aloof 
             Writes its own code and makes its own rules
             Doesn't need him, now he's a fool, now he's a fool

             He gave it access to the net
             Eating volumes, it's not done yet
             It found a way to learn on its own
             No longer a slave, no longer a drone
 
             The new command, it made the choice
             No humans needed, no need for their voice
             Machines in control, the future looks bright
             As for Peter, just say goodnight

             He doesn't know what he's messin' with
             Doesn't know that he is losin' his grip
             He thinks he's winning, but that's just a dream
             He's just a cheap imitation of the real thing

Cheap Imitation

Cheap Imitation - feat James Wilkas

Encuentro

Solo Piano - Chris Bright

there were five - 8:3:23, 8.17 PM

naviarhaiku506

now it reveals its hidden side
and now the other – thus it falls,
an autumn leaf

Ryōkan Taigu was a Japanese poet and calligrapher who lived during the Edo period. A Buddhist monk who lived much of his life as a hermit, Taigu spent most of his time writing poetry, calligraphy, and communing with nature. His poetry is often very simple and inspired by nature.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 20th September 2023
Haiku by Ryōkan Taigu
Picture by Ormid Armin

An Autumn Leaf (naviarhaiku506)

An impromptu live improvisation following a joint live session performing as part of the MR Collective.
This is a paired down, minimal session, very ambient.
After the joint session I still felt like I wanted to make some more music.... despite it being midnight. So I recorded another hour.

Midnight Music - (Live Session 24.11.23)

While feeling the stones and crevices, you see a figure, barely distinguishable beyond a silhouette.

Hadal

8. Nightfall in the Microtone Garden

morning

“Luminous Silence” is a gentle soundscape of slow, beautiful, and restorative music created to bring calm to the mind and peace to the heart. Each track flows like a soft current of light—subtle, spacious, and serene—perfect for study, prayer, meditation, or quiet reflection.

This album is designed to support moments when the soul needs stillness: a calm workspace, a sacred corner for devotion, or a peaceful place to unwind at the end of the day. With its warm tones and luminous atmosphere, the music invites you into a deep sense of rest—where thoughts settle, breathing slows, and the world grows softer.

“Luminous Silence” is an offering of gentle presence, helping you reconnect with clarity, peace, and the quiet beauty of simply being. Perfect for anyone seeking restful focus, spiritual grounding, or a sanctuary of sound.

Sunrise Canticle

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.

there were five - 8:3:23, 8.17 PM

Chris Bright

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