Love the Fripperesque guitar. Lovely track as always.

An ebow: now I want one! A sweet track altogether, soothing sounds. I like the softness of bass, percussive sounds and those swirly things in the background.

Oh, man. Pure syncopated delight. Love some ebow. Best of the week.

Lovely..  can imagine this working in a waiting room

this is gorgeous - is it the from the ebow session you posted on instagram?

Beauty. Came up a lot of goods. Nice and touchy.

The ebow is great but the little transitions in the background are very tastfully done 

Muy bueno! me recuerda un poco a Steve Hackett. Genial!

This brings me to such a peaceful place - peaceful yet groovy and ready for anything!

For this challenge:
Disquiet Junto Project 0515: Talking Cure
Imagine that you are about to consult a therapist. You are sitting in the waiting room of his/her/their office.
Create a piece of music that you imagine hearing in this situation. 

I was recording ebow guitar today so did this jam, guitar, upright bass, ebow guitar, synths.
it was pure "free association", just played whatever came to my mind on top of the previous tracks.
Friday November 12th 2021

----

little home video recording this:
https://www.instagram.com/tv/CWOQ47JqJfc/?utm_source=ig_web_copy_link

Let's Bring It Back To The Waiting Room (disquiet0515)

This week's haiku, by Kubota Mantarō (1889-1963), inspired this improvisation (in G Mixolydian), played on Quantum VST synth.
Recorded in one take in Reaper. No added effects or editing.
Naviar haiku challenge: www.naviarrecords.com/about/naviar-haiku/

Loneliness (naviarhaiku 419)

Armourira Claxonun

MOONBALL

Solo Piano - Chris Bright

immaterial 0929 - 9:29:22, 10.30 PM

Magic Touch

GREN

In a Song That Won't Fade
Music and Lyrics by Mike Krath

Only a few came to his funeral,
But I stood outside in the rain,
I had received word too late,
In a hospital far away,
I didn’t care to see the sight,
So I took my time that day,
You see I didn’t have much love,
And didn’t wish to stay,
But I still went through the motions,
To show how much I cared.
His son carried his ashes
To his grave
While his mother cried dishonor
Had come to the family name. 
And when the preacher got up to speak,
Christ was never proclaimed,
Not then, not there,
Not in that time of shame.

If I had reached out,
Would it have made a difference,
Would it have stopped the shame,
If I had not kept my love a noun,
But a verb to slice my hate away,
Would I still have been his judge,
And not shown mercy to make his day,
To renew his hope to be a father and husband,
And not let his life slip away,
Can I ever forgive myself for not being there with him,
Even in his last days, 
When he was reaching out,
But I was hiding in my blame.
And now I am stuck
In a song that won't fade.

And I don't want to stay.

In a Song That Won't Fade

02 Nov - Oddball

New Linear Music
Code SACEM :111613988867

ABYSS

electric eel under the rock - romain deschamps - novembre 2025

viewport orius

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Let's Bring It Back To The Waiting Room (disquiet0515)

Daniel Diaz

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