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Copperfield has all-too-vivid recollection of the terrifying storm at Yarmouth and the tragic end to a near-to-shore rescue attempt.

Have a listen to the wonderful creations of https://soundcloud.com/candyside-arcade


As clearly as I see
As clearly as I see, what happened then
Before me now, it happens again

Greet the faces, scenes and figures in the fire
The howl and the roar, ratttling windows, pews and doors
Streets of lead ripped clean from the high church spire
The dark invests the storm, with terror in new forms

Repeat As clearly as I see...

Fearful of falling stacks, (the) showered salt rains down
Streets strewn with sand dunes; trees torn from the ground
The tremeduous sea in grip of blinding crown
High watery walls whip and engulf this shattered town

Repeat As clearly as I see
Cue: wild sea electrifying guitar solo, bass undercurrents, piano sea spray and percussive turbulence

The ship's bell wrung its neck; she rose with two men gone
He made toward the wreck, striving valiantly and strong
They drew him to the shore and tried by all means and skills
So shaken to the core, a generous and meek heart stilled

As clearly as I see

As Clearly As I See

PS Perkins: Guitars, bass, lyre, vocals
Ron Thomas: Autoharps, Drums

Production notes:
---------------------------------------------
Very early on we wanted to use autoharps on this song to create a sort of swirling backdrop, reminiscent of the harps in Indian/Bollywood soundtrack songs of the seventies.

Right away there were challenges because the song is in B flat and is not wholly diatonic to begin with, utilizing a chord built on the augmented lydian scale in the choruses. So rather than transpose the song to a more amenable key (since the chromatic bits weren't going to work no matter what key we used) we instead re-tuned the autoharp. Moving through the strings one by one we tuned them either up or down a half step where applicable to bring them into key. Where the augmented chord hit in the choruses, we excluded those notes so that the autoharp was filling the diatonic parts of the chords and omitting the accidentals. It took us several tries to get it right. In the end we arrived at a chord progression that could be strummed on the autoharp and the modified chords could be played with existing dampers.

We also tuned the lyre so that the top half of the strings included the chromatic augmented notes while the lower register of the lyre was tuned using the diatonic, so the lyre could play the melody all the way through both parts of the song.

The inspiration for this song was essentially fourfold:
--------------------------------------------------------
First, H.P. Lovecraft's terrifying necromancer Joseph Curwen (from "The Case of Charles Dexter Ward") who masked his true identity in order to thwart suspicion from his fellow townsfolk. He has many secrets lurking in his underground catacombs where he performs acts of necromancy most foul, extracting the "salts" of the dead in order to raise them at will and learn the secrets of ancient eldritch deities.

Second, a poem by Rudyard Kipling titled "En-Dor" which was a warning against the rise of spiritualism and the cost of communion with the dead in the early 20th century.

Third, the biblical Saul who traveled in disguise to visit a witch at the city of Endor in order to summon Samuel from the dead and garner advice on defeating the Philistines, but who only prophesies doom for Saul. Saul dies later the next day in the battle of Gilboa.

Lastly, the story of Odysseus communing with the underworld where he enlists the help of Tiresias to have a chat with the dead and secure for himself a safe journey home.

They all seek communion with the dead for one purpose: to gain knowledge which only those who have crossed over between realms might possess. 

Lyrics:
-------------------------------------
A mask may reveal what it’s meant to conceal
From those who are standing beside us
Armor of pride, so we learn to abide
By the monsters which hide deep inside us
The monsters which lurk deep inside us
Oh, how they scratch and they bite us
The monsters which lurk deep inside us

Only to know what the professor knows

Eating black bread, wearing clothes of the dead
The soil soaked in honey around us
For fear if we failed, leave the ogre unveiled
And it’s back in the grave where they found us
Back in the grave where they found us
Freed from the ties which had bound us
Back in the grave where they found us

Only to know what the professor knows

In the catacomb vaults, we extracted the salts
From cadavers to lengthen our youth
Chanting the names at the edge of the flames
And a mirror to show us the truth
A mirror which speaks only truth
See how it seeks not to soothe
A mirror which speaks only truth

Only to know what the professor knows

In the underworld maze, in the night of no days
Concocting the plan we’re devising
Much to endure on the road to En-Dor
And to snatch from Elohim arising
To snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising

BARDS:Of The Shimmering Seraphs

The Professor

THE BOY - NOISE MAN
EVERYTHING BY THE BOY
OUT NOW ON EVERYWHERE!!!
LINK IN BIO!!!
SPREAD THE WORD!!!

NOISE MAN

The camper was making dangerous chemicals...💊🩹
I was inspired by foreign dramas!!📺✨
thank you for listening！！
DAW: Cubase pro 13

Spotify↓↓
open.spotify.com/artist/312MPUfW0fyacOfLoDMc9u

Instagram↓↓
https://gate.sc/?url=https%3A%2F%2Fwww.instagram.com%2Fsuperps32023%2F%3Fhl%3Dja&token=68bce4-1-1686833662817

Science Camper

Butterflies
Open skies
Dancing eyes
Smiles and cries

Şeptember Breezę

Deszcz

Just a quick demo… can’t remember the words I came up with… it be what it be!!! I have a different version with bass and basic drums on my K2 and the Four page, if anyone is game!😎

A Sad Face Is Good For The Heart (Demo)

method: three devices and voice. polyend tracker mini, ingpartner y8, zoom r12. that's it.
narration: heraclitus is one of those 
movers of mental furniture we keep referring to despite knowing next to nothing ..... in the book publication, the poem on him was paired with the one on verdandi, Listen to Verdandi by jo richter on #SoundCloud
https://on.soundcloud.com/c5qCz , see  DIE KINETISCHE KUNST DER LIEBE UNTERSUCHTEN DIE ALTEN AN KÄFERLARVEN UND DUNKLEM GETIER in : CHI
image: the tracker creates crossword grids, copyright jo richter

poem / copyright jo richter:

Galen fand die Säfte innen, Kneipp
aussen und Schauberger liess sie
wirbeln, Hahnemann schütteln: Blut und
Lymphe, Laune und Gemüt. Aus

der inneren Umwelt, der äusseren
Inwelt strömt und färbt sich das
Geschick in den Wassern: Zu deuten
aus Treibgut und gelösten Erden,


die als Schicksal verwirklicht ein
Leben sind. Das war es, was ihnen
zwischen den Fingern zerrann: Ach,
Heraklit wusste um kein Ende
des einzigen Stroms, der in jedem
Dasein mündet - und aus ihm quillt.


[An interlinear translation might be made available in the future]

heraklit

Demo from Conquest...  The epic concept album fron Oracles Oath...   but it never made it past the demo stage so I'm trying to re imagine it...

Lost Ground

This is now the extended and collaborative version with Roberto B  (@2roberto2), under the title of  "Transience (Extended Collaborative Version)", combining creatively my recent track, "Transience (Piano)", https://soundcloud.com/alexander-mihailov-96713983/transience-piano, in my work-in-progress album "Again" (2025), with his recent track "Suspense 6", https://soundcloud.com/2roberto2/suspence-6, that appeared on SC on 30 January 2025. My piano track was composed spontaneously in GarageBand iOS in the evening of 28 January 2025. There is also a version for synths, https://soundcloud.com/alexander-mihailov-96713983/transience-synths, as well as a version for strings, https://soundcloud.com/alexander-mihailov-96713983/transience-strings. "Transience (Extended Collaborative Version)" was arranged and mixed in Logic Pro by Alex M on 11 February 2025 and released on SoundCloud in the late evening (in Europe) of 13 March 2025.

The artwork cover for the album and all tracks in it uses a painting by Roberto B titled "Horloge - Le Temps" of 20 November 2024 annotated by Alex M in Mac OS Preview on 21 February 2025 - in coordination and agreement with Roberto B.

Duration: 7:10 minutes

Transience (Extended Collaborative Version) - Roberto B & Alex M

An instrumental track, Dark merging with light to perfect balance, presided over by the Divine Feminine.
Composed and recorded by myself 2016 and first song I uploaded to Soundcloud

DARKLIGHT (Merging)

These are my musical compositions since I began recording on 4-track tape, and later on with laptop, have been adding new compositions in the last few years here and there.
Mostly instrumental recordings, and tracks with vocal, adding extra musical Dimensions and athmospherics.
I have many musical influences, there are special bands and musicians I grew up listening to, Gong, Steve Hillage, Jimi Hendrix, Santana, Ozric Tentacles, Pink Floyd, Soft Machine, John Martyn (ecoplex guitar master), Return to Forever,  Zappa, and from my own country, Thin Lizzy, Rory Gallagher, Gary Moore, CLannad.

link to a short jam video, with cool visuals effects from Facebook
https://www.facebook.com/share/v/DH2T4SfSzviHGy8P/

DARKLIGHT (Merging)

Dave Bayes