How tired can we get?

Photograph: Instant Light - Andrei Tarkovsky

Lyrics:

Hittin’ the road this way
Day to day
Tomorrows blind
And we forgot ourselves 
In this valley
All intwined

Hissin’ plants and screaming bats
The wonders of our find
Pink lotus 
Crystal clear
Valleys in valleys

Earth in your mind
You'll find the time to find the rhythm
Blood-let
Holy juice go blush the water

Why even why?
C’mon, don’t lag behind
Just keep walkin’ straight ahead
Theres roadkill by your side

Endless questions
A stream, a dialogue
Endless solutions
Wading through the fog
Nothing to lose
To live is to die
Dying to live
Life gets me high

Levuka

New fretless bass instrumental on my MTD 535.

© 2021 Mirko Borach
All right reserved

Burning Fields (Fretless Bass Instrumental)

If the pillows could talk, there would be no more secrets on earth. Me, I prefer that the pillows are silent because certain confessions must remain for their sole owners. I dedicate this melody to Madame Hérivale de La Fontaine who inspired me with her poem '' L’Oreiller ''.
                …  
L’Oreiller 

Tu es toujours près de moi,  
Depuis ma tendre enfance. 
Et c'est comme une évidence,  
De te garder sous mon toit. 
Ma tête le soir sur toi, 
Vient se poser sans méfiance.
 Quelquefois mes peines immenses, 
T'inondent de leur émois.   

Passe passe passe les tourments.  
Passe passe passe les amants.
 Passe passe passe les sentiments,
 Mais tu restes toujours bienveillant   

Que serait ma vie sans toi ?
Un long chemin sans jouissance. 
Instrument de mon aisance, 
Quand je m'endors avec toi,  
Mon sommeil est sans effroi.  
Mon oreiller quand j'y pense, 
Tu me permets l'insouciance. 
En toi, chaque nuit je me noie. 
 
Passe passe passe les tourments.  
Passe passe passe les amants. 
Passe passe passe les sentiments,
 Mais tu restes toujours bienveillant.

   	                                   Hérivale de La Fontaine.
https://www.poeme-france.com/auteur/herival-de-la-fontaine/

L'oreiller

SUMMER SNOWFLAKES: variations on a theme. Intended to be released at the first snow fall, but it never came... So I kept recording.

INSTRUMENTS used: Electric Guitar, two steel 6-stringed guitars, 12s guitar, classical guitar, two hardware keyboards (rendering the pianos, organs, bass guitar, chimes, bells, flutes, strings), pedal effects.

The music grew like a fractal in all directions and became quite vast in scope: should I have split it into shorter tracks? Many would say yes, but I didn't fancy that and instead went for the ”LP option"; an instrumental, meditative journey, inspired by the genre invented by Mike Oldfield in the 70s.

When I first heard his work, many years ago, I didn't first get it, but I was intrigued. "What is the purpose?" was my early reaction. But I couldn't shake it off and became hooked to the complexity of his instrumental music, and how it seemed to constantly mutate into new sections. I kept listening, and gradually discovered the many hidden secrets. And it led me to become very interested in classical music.

SUMMER SNOWFLAKES is made in this tradition. Not explicitly trying to mimic Mr. Oldfield, but admittedly clearly influenced by his method. And why not? Was it wrong that Brahms wrote symphonies just because Beethoven already had done nine legendary ones? Would the world have been a better place if Shostakovich had stayed away from writing Preludes and Fugues for the piano? Should no pop songs have been allowed after Beatles? I say, let us be shamelessly inspired by the gigants and make some efforts to create something! Throw an egg if you must, but I think any sincere attempt to compose is welcome.

When I decided to go for a full length track, my vision was (somewhat childishly) the thought of the younger myself; the days when I was a die-hard Oldfield fan and had stumbled upon a new release: always a rare event, an instant buy, running home, headphones on, expectations high, launching it: the first sacred discoveries ... My track may not live up to this, but is a tribute to those days and that feel.

The recording was quite an undertaking and I didn't want to let myself down. I worked on it since December 2018, and was occasionally quite frustrated about it. I avoided midi, and tried to hand-play it all (for the fun of it) - often leaving me in big trouble. I admit there are some sun spots due to this, but I consider them as my finger prints and evidence that a human did this, not a machine. .

Art cover: by DS 2021, reflecting the heavy reliance and overlaying of pianos and organs, and the combinational nature of the music.

Special Thanks to Mark Hermse, Mike Hilton and Wojciech Langner for support and inspiring discussions!

SUMMER SNOWFLAKES

Martin Kula - album

All gone

Never Be The Same.   [feat] Nina Johnson.

This track is a remix of the original version uploaded to YouTube. The strings are layered on top of each other. I cut the mid-low range a little from the original and remixed it. I hope you can compare it with the original.



https://youtube.com/channel/UCUYRIEC77uN5JoGpK4ztCPg

蒼の違和感(remix) feeling uncomfortable of blue

Orison

a.k.a the serious EP. Life is not full of sunshine and rainbows.

Composed February 2018, recorded December 2020. Unrequited love sucks , but in my opinion, it's better to be rejected on the spot than led on.

(Lyrics)

(Verse 1)
It was too good to be true, too bad it didn't work.
Too perfect for me and eternity.
If we can turn back time, before you broke my heart,
before I fell in love, before we even start.

(Chorus)
Pass me by, you really didn't have to make me cry.
All you had to do was pass me by. 
You really didn't have to make me cry, pass me by.

(Verse 2)
You shouldn't lead me on, a true heart that you lack.
I hope you meet someone and Karma pays you back.
So much in common, thought we're doing fine.
Thought you will be mine, if we can turn back time.

(Chorus)

(Bridge) If we can turn back time, all you had to do is

(Chorus)

Never Be The Same. [feat] Nina Johnson.

David Hoade

Recent comments

Lilli A.

Vocalatti

DiVaDY

ⓁichtⒷildⒼestalter

Related tracks