Terminus

"Der Pilz"

flippophil

I asked the mirror on the wall
Who was the biggest fool of all
But the mirror just stared back
I got no answers I got no track

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

You said I love you I love you so
Never ever gonna let you go
But that's not true and you know I'm right
But I ain't going without a fight

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

I heard you whisper
I heard you whisper
I heard you whisper
I heard you whisper I love you

Instrumental

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

You said I love you I love you so
Never ever gonna let you go
But that's not true and you know I'm right
But I ain't going without a fight

Just remembered what you said
It's going round now in my head
Just be careful of what you say
"Cause I remember everyday

Outro

I Heard You Whisper

Yesterday I flew with my wings, I remember it well

Playing around with some beats paired with edits from an Alesis Ion and ASM Hydrasynth running thru a Big Sky reverb pedal- Peace! We need more of it!

OneKind- Head Space

A somewhat sloppy but hopefully still interesting little piano improvisation recorded in Cape Verde, West Africa in 2024. 

Verde

24 7 26

Flotilla of Hope

Throughout:
Hope and Heart, Here we are

Show our soul
Show our sane
Show we know to feed now
Sail
Pure power to you
Be gone sulphuric drone
Hate can't mute heart
If this hope we clone

Oh fine flotilla
Great humanity
We pray a path for your good sanity
Show them we're here
Show them we care
Show them new hope
To add to their prayer

Brave brother and sisters
The sith won't win
Forward fearless knots
Al Nakba to thin
No highjacked god can stop your love
The world is watching with most human dove

Feed the children
Sustenance of normal
Show them human hearts can hold them
Give real rights
Help them survive
Show them Earth has loving eyes

Flotilla of Hope
Our greater good
Flushed fear because we know we should
Aside evolution selection awaits
If heart can win and protect these traits

God power good humans
To all of you
Here's praying your hearts can make it through
Show the kids were here to break hate wall
Show the true love can prevail for all

Flotilla of Heart

the latest composition from this series of songs, no further editing at the moment
work in progress

VI. il poema del'assenza ( Let the ghosts sing )

Yearning Instrumental Demo is an unreleased draft from the creative forge of DestKorn, published under my side project Harmonic Echo. The piece is built on the intimate interplay of piano and violin, carrying a deeply melancholic, fragile atmosphere.

This is intentionally a demo version – it reflects the moment of creation, raw and unpolished, offering a direct glimpse into my creative process. It is not about perfection, but about capturing a feeling that later grew into the final track.

Yearning Demo ist ein unveröffentlichter Rohentwurf aus der Schmiede von DestKorn, veröffentlicht auf meinem Nebenprojekt Harmonic Echo. Dieses Stück basiert auf der innigen Verbindung von Piano und Violine und trägt eine melancholische, fast zerbrechliche Stimmung in sich.

Es handelt sich um eine Demo-Version – sie spiegelt den Moment der Entstehung wider, roh und ungeschliffen, ein direkter Einblick in meinen kreativen Prozess. Hier geht es nicht um Perfektion, sondern um das Festhalten einer Stimmung, die später zur fertigen Version führte.

Credits
Music, arrangement, mix & master: DestKorn / Lyrics : ~
Artwork: DestKorn
℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, or distribution is prohibited.

Yearning Instrumental Demo

This piece is simply a love song to a tone row that enjoys a unique mathematical property. Let me put that in some context.

When people think of "mathematical music," three names tend to come up: Milton Babbitt, Iannis Xenakis, and Tom Johnson. For the point I want to make, let me concentrate on Babbitt and Johnson.

With his musical career well underway, Tom fell in love with mathematics writ large, despite having no formal training in the subject. He relied on professional mathematicians (myself included) to tell him about significant ideas, and he was a genius at finding ways to project mathematical concepts through music in the most natural possible ways.

In the preface to the score of Networks, Tom writes: “Composers should not tell their music what to do.” (This reflects Tom’s willingness to call himself a “minimalist,” even as the most famous minimalists rejected the label.)

I suspect Milton would have dismissed Tom’s sentiment as nonsense, holding that telling music what to do is composition perforce.

Milton did have mathematical training, and it expresses itself in his work as the rigor with which he approaches the intrinsically musical problems posed by twelve-tone practice. And unlike Tom, Milton actually fathered some original, albeit modest, mathematical discoveries. Still, his relation to mathematics resembled that of a typical engineer: formal methods helped him do what he wanted—and needed—to do, but his interest didn’t extend much beyond that.

Tom, for his part, had a studied disinterest in twelve-tone music, precisely because its practitioners often buried structural principles under richly “improvised” surfaces that attracted listeners’ attention. The common notion was that the underlying theory—the mathematics—was the exclusive domain of experts.

My piece here is twelve-tone music, but philosophically close to Tom’s minimalist spirit.

Indeed, I recently discovered this twelve-tone row:

0  1  4  8  3  6  5  11  9  7  10  2

It enjoys a remarkable property that makes it essentially unique.

By way of explanation: only about 1.5% of all possible tone rows allow you to combine the row with two rotations of two other forms (of the same row) so that the resulting three rows, when sounded together, produce twelve distinct trichords that exhaust all twelve trichord classes.

That said, most rows that allow this at all allow it in just a single way. But this row allows four ways, yielding four essentially different cycles of trichords.

I have never met two stools that I didn’t want to fall between. There is some simple surface detail here, and I can imagine Tom urging me to eliminate any competing idea. But that said, I am neither “improvising” here nor treating the row as mere “pre-compositional” material.

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I have chosen a tempo here for the web.  In performance, the player decides, and I enjoy the piece even at half the speed.

Let Me Make This As Clear As I Can, for solo piano

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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Let Me Make This As Clear As I Can, for solo piano

David Victor Feldman

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