LE CLIP ICI : 
https://youtu.be/GY5UFkp5Aqg

🇫🇷 Jesus Beluga, un album d’une heure de musique mêlant musique électronique expérimentale et un rock puissant à la limite du rock progressif. Les sonorités captivantes de la guitare, synthétiseur, de la mandoline, des percussions et même du violon s’entrelacent avec des éléments numériques. Un concept original en mêlant harmonieusement l’organique et le technologique. En plus des nouvelles compositions, il intègre des poèmes générés par Chat GPT, un modèle d’intelligence artificielle, qui sont ensuite récités par un logiciel de synthèse vocale. 

Cette fusion entre la créativité humaine et l’IA crée une atmosphère unique et invite à une réflexion profonde sur les thèmes de la spiritualité, de la technologie et de la relation avec l’IA. L’album explore de manière audacieuse les possibilités et les limites de cette interaction, offrant une expérience sonore et conceptuelle fascinante. 

De cet album, est né un concept de nouvelle religion mélant le sacré et la technologie de l’IA. J’ai aussi écrit un livre de 36 pages avec Chat GPT qui donne les grandes lignes de la religion belugianne.
Chat GPT a aussi inventé une langue originale pour les adeptes du «belugianisme».

🇬🇧 Jesus Beluga, a one-hour album of music blending experimental electronic music with powerful rock on the edge of progressive rock. The captivating sounds of guitar, synthesizer, mandolin, percussion, and even violin intertwine with digital elements. It's an original concept that harmoniously combines the organic and the technological. In addition to the new compositions, it incorporates poems generated by Chat GPT, an artificial intelligence model, which are then recited by a text-to-speech software.

This fusion of human creativity and AI creates a unique atmosphere and invites deep reflection on the themes of spirituality, technology, and the relationship with AI. The album boldly explores the possibilities and limits of this interaction, offering a fascinating sonic and conceptual experience.

From this album, a concept of a new religion emerged, combining the sacred and AI technology. I have also written a 36-page book with Chat GPT outlining the main principles of the Belugian religion. Chat GPT has also invented an original language for the followers of "Belugianism."

01 JESUS BELUGA

August marks 3 years since the passing of Per-Olov Lemhagen, Master Peo, as he was known on Bandcamp, mp3u.com and other music platforms.

Peo was a clarinetist and used to play in a swing band in the 50's in Sweden. His familiarity with the instruments, arrangements and all that goes into creating authentic band pieces made him a valuable mentor in the American Jazz classics.

This one, Darktown Strutter's Ball is such a piece, and it was always a joy and a learning experience for me to lend a vocal to Peo's arrangements.  This is loosely based on Ella Fitzgerald's version of this classic.  Peo wanted to slow the tempo for his interpretation...which worked for me too ;)

In memory of Peo.

Lyrics:
Darktown Strutters Ball

I'll be there to catch you in a taxi, honey.
Better be ready about half past eight.
Now baby, don't be late,
I wanna be there when the band start playing.
Remember when we get there, baby,
Two-steps, I'm gonna have them all,
Gonna dance out of both of my shoes,
When they play that Jelly Roll Blues,
Tomorrow night at the Darktown Strutter's Ball

Songwriter:  Shelton Brooks
1915

Darktown Strutters Ball

'rumbustious'

Scotty: lyrics, vocals
Falsestart: everything else

Let me tell you 'bout the day I had.
I woke up feelin' worse than nothin'.
And I still was half in the bag.
I had to burn one down just to function.
Last night, all the fun we had,
it turns out, it amounted to somethin'.
Didn't notice all of the red flags
until my face was made a bag for punchin'. 

Well, I guess that's what you get
when your whistle's wet
and you're not on your own
and your friends bum cigarettes 
from some pimp who's vexed
you've got no interest to get blown. 

Late for work and the boss was mad,
indicatin' that I smelt of somethin'.
She voiced concerns that my eyes were both black
and that my overall look was disgustin'.
After that, she took a step back,
turned and said, 'Forget about punchin'
in today.' Well, hooray, I'm glad.
Still, the bills pile and bend me for fuckin'. 

Well, I'm sittin' at home
and I'm scratching my dome
'cause I just don't quite know what to do.
So, I'm singing my song.
Surely it won't be long
until they start charging us for that, too.
Oh, wait, they do!

rumbustious (with Falsestart)

This tune is added to my album "System"(Free Download).

<< Free Download from Bandcamp >>
https://negativeheadphone.bandcamp.com/album/system

<< Free Download Album from Meiafire >>
https://www.mediafire.com/file/sq3ph1t9ij4vc4d/Negative_Headphone_-_System.zip/file


[ Albums ]
https://negativeheadphone.bandcamp.com

[ Youtube ]
https://www.youtube.com/c/negativeheadphone

[ Spotify ]
https://open.spotify.com/artist/6yptVqiGbvP3HpQNz2XTyQ

[ Facebook Page ]
https://www.facebook.com/negativeheadphone

[ Twitter ]
https://twitter.com/NegaPhone

Free Download

Judgement

Nervenkitzel Für Heute Abend

Long Story Short

Thanks so much for your generous open collab offers, Paul, this one sounded like made for me :-) ... https://soundcloud.com/paploviante-and-friends/dark-future-open-collab-offer ...
Paploviante aka https://soundcloud.com/paul-racle : Bass, Composing, Arrangement, Mix and Mastering 
joerxworx: Alto Sax, post editing ... dark Lady Illustration: screenshot from Paul's post

Dark Future by Paploviante // my Alto Sax remix

WHO LOVES A COWBELL IN A MINOR KEY
IT HAS TO BE YOU WHO ELSE COULD IT BE
WHO LIVES
IN THE SNOWY MOUNTAINS WITH TIM TONI
IT HAS TO BE YOU IT COULDN’T BE ME

NO NO OUI OUI
OH OH
TU ES BELLE MELISSA ÇA ON ME L’A DIT
AH AH

WHO LIKES 
DISCO BALLS & BEEF SHORT RIBS
EVERYTHING THAT SPARKLES JUST LIKE MOST OF THE KIDS
ET QUI AIME MAHLER ET PLEURE À L’OPÉRA
C’EST TOI MELISSA, QUELQU’UN M’A DIT ÇA
AH AH 
OH OH
YEAH YEAH
AH AH

WHO LOVES MONTY THE MAREMMA 
IT HAS TO BE YOU MAIS ÇA POURAIT ÊTRE MOI
COS I CAN TESTIFY HE’S A KING OF A DOG
JUST LIKE FOR THE VIKINGS RAGNAR LODBROG

A COUSIN OF MINE IF YOU CARE TO KNOW…

WHO LOVES THE ALL BLACKS AND MARZIPAN
QUI AIME LE RUGBY  ET LE MASSEPAIN
LES ROSES LA VIE, ETC…
HOW DO I KNOW HAVE A GUESS MELISSA

OH OH
YEAH YEAH

MONTY THE MAREMMA (Lyrics) song for Melissa

Solo Piano - Chris Bright

what we wouldn't have had - 1:28:24, 7.01 PM

Whitelabrecs presents the debut album by pianist and composer Catherine Tang. She was born in Basel, Switzerland to a Serbian mother and Chinese father, and her music reflects this richly varied cultural background. Beginning with classical piano at the age of four, Catherine later discovered Jazz in her teens, a path that led to studies at the Jazzcampus in Basel where she completed both her Bachelor’s and Master’s degrees. Catherine has since established herself as an active presence within the Swiss Jazz scene, performing at major festivals including Montreux Jazz Festival, Gurtenfestival and Offbeat Jazz Festival. Beyond her role as a pianist and composer, she is also bandleader of the quintet ASRA, whose debut album Nocturnal Journey was released by Berlin’s XJAZZ! Music.

Catherine’s work is characterised by an emotional sensitivity to atmosphere and texture, inspired by her surroundings and daily life. Speaking about her process, she explains: “I draw inspiration from the people and everyday moments around me. Simple melodies often come to me through my voice - it’s my way of capturing fleeting ideas and emotions. My approach to composing is very emotional; I need to live and experience things deeply before I can translate them into music. For me, music is a way to process life, to turn raw emotions and experiences into something tangible and meaningful.”

‘Where Do Your Dreams Fly?’ marks Catherine’s first solo release under her own name. Recorded at CopShop studio in Berlin over three days with producer Michael Haves, the sessions centred around an old upright piano which imbued its warm and intimate character throughout the record. Rather than polishing away imperfections, Catherine embraced the mechanical noises of the piano and even the creak of the chair, giving the listener a sense of being present in the room. Additional layers came from expressive synthesizers including the Osmose, Moog Grandmother and Prophet Rev2, carefully woven into the arrangements to expand the depth of the recordings without losing their human touch.

The title was inspired by a line encountered in Shirley Horn’s ‘I Watch You Sleep’ which became the album’s guiding theme. For Catherine, Where Do Your Dreams Fly? is about letting go of self-doubt and external expectations, allowing the music to follow its own path. That openness also found its way into the recording process; the album’s closing piece ‘Nocturnal Returnal’ was captured spontaneously in a final take at the end of the session. It may have been completely unplanned but it became one of Catherine’s favourite pieces for its raw honesty.

Dreamy, textural and immersive, this debut showcases the full extent of Catherine’s deeply personal artistry. It invites the listener into an intimate space that balances fragility with expansiveness, whilst quietly posing a central, open-ended question: where might your own dreams take you, if you were given the freedom to fly? 

Credits
Written and produced by Catherine Tang
Recorded, produced and mixed by Michael Haves at The Cop Shop, Berlin
Mastered by Martin Ruch, at the Control Room in Berlin
Photography by Jérémie Luke Dubois
Artwork by nkl
Art and design by Andrew Heath

Realised with the support of GGG Kulturkick and Sulger-Stiftung.

Where Do Your Dreams Fly?

Learn More

wlr195 Catherine Tang - Where Do Your Dreams Fly?

Peaceful and relaxing contemplative piano music

Lament

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.