This is so intimate that I feel I am in the room with you as you sing and play. It is a nice place to be. Warm and cozy.

Always so lovely and your singing has so much feeling my friend !!

Your work always puts me in touch with my feelings, there's no escaping it and I wouldn't have it any other way. Thanks for all of your songs Dag. I hope you have a good 2023.

Love how the separate melody lines - the vocal, piano, guitar and violins - intertwine and complement each other, almost like a dance. Flawless, I’ve played it at least 4-5 times now and it keeps getting better on each listen 😀

The slight vocal break down on the lyric sky...gorgeous. Into the beautiful strings, oohs and nylon guitar....fabulous. Fantastic arranging, songwriting and musicanship.

Such a lovely 'aha' vibe as I am carried along...

Ireland Dance Party

This is the 1st track in the "Seven Dreams of the Orb Weaver" medley.  It serves as a prelude to the rest and for the subsequent track "Ocean Star" in particular.  (If you like this one, you might like listening to the whole medley in sequence--you can find it in the album section soundcloud.com/skai-eriksson/sets/seven-dreams-of-the-orb-weaver.)  I wrote this track after the others were finished.  The medley overall is rather dark and emotional, so in this prelude I aimed for something light, calm, and peaceful with just a hint at some of the later darker themes.  The impressionist-style waterfall just after the middle of the song is indeed Debussy-inspired (it is just a simple pentatonic pattern similar to ones that appear in plenty of songs, but for me this type of pentatonic run is iconic of Debussy's Arabesque).  I like how the 6/4 time signature gives a little extra space to elaborate on this riff, and I was pleased with how it sounds as a resolution to the cadence leading up to it.  While the song has a shifting tonal center, it is certainly not as tonally destabilized as Debussy's music, and this (along with the simplicity of the locomotive rhythm) affords an opportunity to prepare the listener for a climactic sense of arrival as the pentatonic run appears.   I wanted the middle section of the song to offset the minimalism that is present at the beginning and end of the song, and this Debussy-style riff serves as a nice centerpiece for that.

Ripples In Spacetime

Composer / piano and violin : kianoush koureshi

Out of my hands

I can hear my name

But Happy

Guitar Dialogue(Guitar solo)

Aiming for a clear and natural sound.  Completely improvised.

Milllennia True

Unwavering Devotion

OUT 22nd December 2023
Bandcamp and most streaming platforms. Links to follow. 
Full track will be posted soon. :) 

Lyrics: 

If we're not one then let's be water,
If we're not floating, we're not real.
I love your colour when you falter,
You're glowing sapphire in the steel. 

Step out your world and drape it around me,
I'll slide my arms through what's undone. 
We are the could and would and should be,
Where rivers blush under the sun.
~
And be that as it may, still, still,
There's something inexplicable 
In finding all of me could be all of you.

(Just for a while, don't speak and listen...)

I lost the girl in me but caught her,
Your boy was tired of everyone. 
They bound together in the water
And shimmered silver in the sun. 

Words & Music © Nic Evennett & Philip Dupuis, 2022.
Mastered by Adam Ellis ~ Deadline Studios

If We're Not One Then Let's Be Water

if we're not one then let's be water ~ Radio Version

I Talk To The Wind / cover / 20240507 / studio

This piece starts off from the repeating 4 notes of the 3rd movement from Beethoven's Tempest Sonata (https://www.youtube.com/watch?v=ZRoZgmqlfso) but takes off in a much different direction with new melodies. The piece borrows from Beethoven only those repeating 4 notes and the figuration of the left hand... everything else being my own. Though the feeling is overtly Beethovian too (with all due distances, of course)... And do you sometimes hear echoes of the Für Elise? (To my ear, the Für Elise itself has echoes of the Tempest's 3rd movement, even in its opening theme.)

The title "After the Tempest" has double meaning. It "takes after" Beethoven's Tempest's 3rd movement. And it also represents the sunlight and freshness felt after a storm's atmospheric depression has passed. Triple meaning, actually, as we endure this terrible worldwide depression and wish for the day it will past us somehow...

Played by software, sorry...

The painting shown is by Thomas Cole (1836), entitled "The Oxbow" and represents an oxbow in the Delaware River after a passing storm. Beethoven's Tempest sonata was written 1801-1802 and Für Elise dates from 1810.

I can hear my name

Dag Olav Hermundstad

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