Dungeon Synth on Nexus 7 tablet
https://open.spotify.com/track/79x1ZccM4QOs2K4Y64f4Cy?si=23fb9bec9f144833

Nordic Winter

Songwriters : Richard Carpenter & John Bettis \ ISWC : T-070.161.059-4
Released : March 14th 1975
Publishers : Almo Music Corporation \ Universal Music
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The Carpenters are the Favourite band of all my celebrities.

Their songs have been a part of my childhood, my teenage years and even
now. Especially Karen's voice.
She had a fairly deep, medium-range voice, warm and colorful,
with an exceptional tone.
She was not only a singer, but also a very talented drummer.
Her brother Richard also has an extraordinary voice and does a lot of
backing vocals.

Their two voices alone amply cover the harmony of their tracks.
They're Unique.
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I love this song; it's well-paced, as well as the bass and especially the drums.
For me, this song is very hard to sing, 
because the key starts off very low and rises quite high,
and the tempo also increases.

Honestly, I struggled to keep up with the rhythm in both choruses.
As I was saying, my voice isn't what it was 20-30 years ago. 🙂
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Arrangement (Yamaha PSR SX900) : Phong
Vocal : Anh
Recorded : May 31st 2025
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Only Yesterday - Cover (Carpenters)

This track is my very personal take at the Koan "Hear the Clap of your Hand". My lyrics version (https://soundcloud.com/konrad-spittelberg/the-clap-of-one-hand-pp) might make things clearer. (yes, this is my sneaky strategy to guide you from one song to another :-))

Compositionwise, the track is roughly split into two equal parts. The first part introduces its cinematic theme in the very beginning, taking it thereafter up several times with slightly different accentuations and rhythms which gives it a fresh feel with different highlighted nuances in each repetition. Several interludes contribute to the cinematic feeling. 

The second part, starting @1.53 starts by a more Jazzy version of the main theme. However, from 2.20 onwards, it is very restricted in its harmonies - only two harmonies are used from thereon until the end, C major and C# major. The tension arises purely from the rhythmic changes (such as the shift from 4/4 to 3/4 @3.17 and back), climaxing at the end.

The Clap of One Hand (Piano Miniature)

Dear friends, we lived close to the Cherry Valley when we were young - and now we are going back!

Back to the Cherry Valley

We meet in the cherry valley clime where cherries bloom
there is grandfather and our dear grandmother too
the small kids are there , and also dogs who will find
that this place is full of joy
and let the party move on 
and let all kids - run free
this is a morning that is grand

The path to this wonderful place on earth
is so tricky and hard and the old people need
all help they can get, we maybe put them in a wheel-
barrow for the tough transport
and let the party move on 
and let all kids - run free
this is a morning that is grand

We will go there when the cherry trees bloom - - they are so cute
and the morning sun must shine and cast shadows that make
the view magical - - it is a wonderful moment
for the generations to meet 
and let the party move on 
and let all kids - run free
this is a morning that is grand


Lyrics in Swedish:
Tillbaka till Körsbärsdalen

Vi möts i körsbärsdalen där körsbär blommar
där finns farfar och vår kära mormor också
de små barnen är där, och även hundar som kommer att finna
att denna plats är full av glädje
och låt festen gå vidare
och låt alla barn springa fritt
det här är en morgon som är magnifik

Vägen till denna underbara plats på jorden
är så knepig och svår och de gamla behöver
all hjälp de kan få, vi kanske sätter dem i ett skott-
kärra för den tuffa transporten
Och låt festen gå vidare
och låt alla barn springa fritt
det här är en morgon som är magnifik

Vi åker dit när körsbärsträden blommar - - de är så söta
och morgonsolen måste skina och kasta skuggor som gör
utsikten magisk - - det är ett underbart ögonblick
för generationerna att mötas
och låt festen gå vidare
och låt alla barn springa fritt
det här är en morgon som är magnifik

Back to the Cherry Valley - 2025-06-12 17.19

Middle-Earth inspired music with a cinematic score

Hidden World III

In Our Time

I composed this music in response to a contest. Astrophysics fascinates me, so what a pleasure to compose a melody on the piano while immersed in the poetic space images of The Tree of Life by Terrence Malick (proposed to illustrate with a composition). Especially since I was showing off my new keyboard called Astrolab... I saw this film 10 years ago and have memories of it that are divided between formal beauty, philosophical questioning and a feeling of oppression. I thought it needed repetition, evolution and accident, gentleness and intensity, hope and inevitability, smallness and grandeur...

J'ai composé cette musique en réponse à un concours. L'astrophysique me passionne, alors quel plaisir de composer une mélodie au piano en immersion dans les images spatio poétiques de The Tree of Life de Terrence Malick (proposées pour être illustrée par une composition). D'autant que j'étrennais mon nouveau clavier nommé Astrolab... J'ai vu ce film il y a 10 ans et en conserve un souvenir partagé entre beauté formelle, questionnement philosophique et sentiment d'oppression. J'ai pensé qu'il fallait de la répétition, de l'évolution et un accident, de la douceur et de l'intensité, de l'espoir et de l'inéluctable, de la petitesse et de la grandeur...

Tree of life

Cast of characters:
Surfers Like Us– @user-411502040 –Artur–composition, arrangement, and Fender Jaguar foundational rhythm guitar
J.J. Terrell– @j-j-terrell – organ, envelope synth, and vocals
K2 and the Three [and the Four]-- @k2andthe3, @k2-kara –Ken–drums 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –four string fretless bass and vocals
Llanpsych– @llanpsych –Tez– Fender Stratocaster electric guitar
TexMex Shaman– @texmex-shaman –Stephen–Fender Nashville Telecaster electric guitar, sitar, mix, master, and production

This song began its life in Poland, where our resident surf rock specialist, Artur, composed it on his giutar. He is a brilliant composer and expert player, so we're always glad to receive music from him. 
  Artur gave it to JJ to start the project, so JJ was first to the trough here, adding his breathy, moving organ throughout, as well as some slick envelope synth. Ken came along shorly after to give the song its heartbeat, adding his triumphant drums. As soon as he had a beat to play to, Josh added his four string fretless bass to the mix, completing the rhythm section. 
  Now it was the other guitarists turn to take a whack at it. Tez was first up, adding the magical the first and third solos, in the verse sections. He also lit up the intro and outro sections with some dynamic guitar solos, as well. Stephen went last, filling in the second and fourth solo sections in the choruses, as well as a textural guitar that you hear throught most of the song. He also added the exotic sitar you hear in about the middle. After all the music was laid down, Artur had the idea to add the vocal chorus towards the end, which Josh and JJ sung in four part harmony.
 Once we had it in the bag, we asked Stephen to produce it for us, which he did in his always trained, professional manner. 
  This is the eighth song we've done with Artur over the past about year and a half. We adore his music and him as a person, too. If you dig this song, you should hop over to his page and have a listen in case you're not already familiar. He loves surf music, and wanted to note the passing of surf rock legend, Brian Wilson this week. Wilson was more than just Pet Sounds, although that album is top class. He was a surf rock pioneer, who influenced a whole genre of music; a genre that's near and dear to Artur's heart. 
  We hope you enjoy listening to this song as much as we enjoyed creating it.
Original lyrics by Surfers Like Us:
We all live between Sun and Moon
Love and Peace
That's all what we do

Between Sun and Moon (Eclectic Collective with Surfers Like Us)

Having to destroy yourself in order to begin again.
From the album: "Curiosities Of Outsider Art" (Sept 2025)

Bandung, sea of flames
In 1946, the people of Bandung Indonesia
They had risen up against their British oppressors
Realizing that their army was weaker
And much less powerful
They decided to abandon the city
They adopted a scorched earth policy as they left the city
Burning the city to the ground
And one day start again...

Bandung, sea of flames

Bandung, Sea Of Flames

kiss me - ed sheeran (piano slower ballad)

A Waste Land Companion is, as its title implies, an addendum to Boris Rogowski‘s
album The Waste Land which was released in February 2023 on Piano and Coffee
Records. A meditation on the infamous eponymous 1922 poem by T.S. Eliot, The
Waste Land traces its psychological journey through a barren world in search of lifegiving
water as well as its physical journey through London on the zenith of
Modernism.

During the recording sessions for the album—whose sound is characterised by the
interplay between a string quartet, flute and a collection of specifically created,
deeply warped and tape-weathered samples—over 20 pieces were recorded.
Rogowski had originally intended to use all of them in chronological order, beginning
with the famous part about April being the „cruellest month“. However, it turned out
that a shorter playlist and a strictly musical order worked better for the album.
Rogowski decided to focus on the string-centred pieces to give the album a dreamlike,
hypnotic pull. However, as he valued the shorter, piano-based pieces just as
much, the idea for a companion (mini) album was born almost immediately.

It was a most sensible decision: Chamber gems like „The Hyacinth Girl“ and „A
Wicked Pack of Cards“, mixing English folklore with nods to Richard Wagner’s Tristan
and Isolde, might have gotten lost between the dark, monolithic soundscapes of the
album. Here, however, framed by works for solo piano and harmonium, they are
allowed to shine. A Waste Land Companion begins and ends with two piano pieces
only loosely connected to T.S. Eliot’s poem: „Dear Jessie (to Jessie Laidlay Weston)“ is
an ethereal miniature in reverence of the brilliant English medievalist whose book
From Ritual to Romance, a historical examination of the King Arthur legend, greatly
influenced Eliot while working on The Waste Land. „Universe on a shoestring“ is even
serener, a kind of exhalation after a long and arduous journey. It was the last piece
Rogowski composed during his concluding writing session in the mountains of the
island of La Palma. Here, close to the GTC, the world’s largest optical telescope, the
universe seemed closer than anywhere else on earth—and the grim world of The
Waste Land already a distant memory.

Bandcamp

Dear Jessie (To Jessie Laidlay Weston)

just some spawns off of my original sequence

Calm

Close to Robert is a French composer born in Scotland, pianist, producer and environmental activist, formerly elected to the town hall of Toulouse, France. 
His music mixes pop melodies, crooner voice, catchy bass lines, jazzy piano and synth solos. 
His compositions would be different without the Beatles, Bowie, Gainsbourg, Bashung, 80s Pop, the Roland JX3P synth... Close to Robert likes eclectic musicians, pop in the broad sense, like Chilly Gonzales, Jeanne Added, The Divine Comedy, Lana del Rey, Benjamin Biolay, Emilie Simon, Sébastien Tellier, Get Well Soon...
Ecology takes a major place in his lyrics, in a perspective that is both realistic and optimistic, because we have no other choice but to believe in humanity.