This is excellent Tom with some suprising twists

Nice tune, enjoyed listening. Love, Hannah ❤️

Great song, great arrangement.  It's great when something of this quality appears in the request.  Very tasty.

Great surreal lyric! I like the way it plays out in the walking rhythm against the rocky instrumentation and how it gets brazenly brassy as it goes along. Very adylwmy in its spirit. P cession fab too. It starts so simple and gets  so complex! Ll

Love when the chorus kicks in--reminds me of Talking Heads

New Singer Songwriter Discoveries

This Head Ain't Big Enough for the Two of Us

My goodness finally. Ever since I made the base track from desires I wanted to make some lyrics for it. And after remaking everything, changing the tuning I think I got it.

Only thing that I struggle with now (maybe it's because I still use basic home equipment) is getting the vocal tracks right in volume. That was a pain in the butt. So If you guys have any tips on getting that better, I'm all ears. Maybe it will get a resung version in the future. I guess that's kinda my thing for now. Starting a project, and reshaping it once I get better/new stuff.

Anyway, enjoy the track. And have fun this summer!

[Edit 21/05/23] Replaced the file. I tuned it 1 tone down, fixed the vocals and finally I am happy!! Now the summer can begin :D

[Another edit. Highly perfectionist me wasn't happy with the vocals. + new vocal processor. Hopefully this is the last replace for now :-) ]

Cheers,
Masquerade

Masquerade - Desires

Pista instrumental con la guitarra llevando la melodia instrumental- 

El Tiempo de Mañana

One night, stranded in LA after a gig with a dead phone and no bus in sight, a stranger offered me a ride. Though hesitant, I trusted my intuition and accepted. They turned out to be kind, sharing life advice that stayed with me. 
The song, inspired by that experience, explores how, even in a world where fear and caution are necessary, we still yearn for connection and trust. It’s a reflection on the beauty of unexpected human bonds, vulnerability, and hope — a message that feels more urgent than ever.
 
The song was co-produced with the late Jesse Colin Young (of the 60s hit Get Together), and was recorded live in the studio with legends Laurence Juber (Grammy-winning guitarist for Paul McCartney's Wings), Kenny Aronoff (John Mellencamp), and Jorgen Carlsson (Gov't Mule).

Lyrics:

Verse1

Summer skies and neon signs
But I was lost in the night
You called out, but no reply
Coz you seemed suspiciously nice

Verse2

Nothing else was in sight
And I kinda needed that ride
Something told me I'd be alright
But (I) had to think twice, I wonder why

Prechorus

In a world of deep blue riptides,
We build our walls up high
But don't we wish and hope to God we find
Find a little sunshine

Chorus

You could be my perfect stranger, You and I
don't you think our crossing paths (is) a perfect sign
I could be your perfect stranger, You and I
And we could find a little sunshine

Verse3

I get too stuck up sometimes
I say I'm doing just fine
coz if I ask for help it might
Make 'em think I'm the weak type

Prechorus

In a world of deep blue riptides,
We build our walls up high
But don't we wish and hope to God we find
Find a little sunshine

Chorus

You could be my perfect stranger, You and I
Don't you think our crossing paths (is) a perfect sign
I could be your perfect stranger, You and I
And we could find a little sunshine

Bridge

Passing by,
I see the diamonds in the sky
I see them in your eyes,
All this time
Didn’t you realize
We have found that light

Chorus

You could be my perfect stranger, You and I
Don't you think our crossing paths (is) a perfect sign
I could be your perfect stranger, You and I
And we could find a little sunshine

You could be my perfect stranger, You and I
Don't you think our crossing paths (is) a perfect sign
I could be your perfect stranger, You and I
And we could find a little sunshine

A Little Sunshine

Oke this track... is one of the first I've made in FL (or at least the basic beat), and then it stayed on the shelve for 3 years or so xD. But better late then never! Yet another summer style song going on! (And I still stick to the 1 song per month yey! progression!)

Only trouble I had currently.... Is me writing quite a happy summer song bc it was still on the shelve and I enjoyed making it.... but my head is also somewhere else.... With everything going on in the world. Maybe I'm going to use those thoughts for the next project. In the mean time, let's stay nice to each other. Accept each other for who they are. Protect your loved ones, protect democracy. And if your in a country that's been plagued by war (Ukraine, Palestine) please stay safe. I hope one day everything will be alright again.

Cheers! ^^

Alive

This track is based on my theory of life at its best, put your headphones on and immerse yourself.

Ethereal

A warm and intimate folk pop ballad built on fingerpicked acoustic guitar, soft male vocals, and subtle string textures.
“I Still Hear You” reflects on the lingering presence of someone who’s no longer there — not in loud words, but in the quiet spaces, in light, in silence.
It’s a song about memory, grief, and emotional stillness — wrapped in organic instrumentation and natural room reverb.

If you enjoy acoustic, singer-songwriter, indie folk, or soft rock with heartfelt lyrics and slow, introspective energy, this one’s for you.

Recorded in a minimalist setting with cello, harmonium, and mandolin, this track leans into emotional detail and quiet dynamics. Best heard on headphones — or late at night.

#folkpop #acoustic #singersongwriter #malevocals #indiefolk #introspective #nostalgic #emotional #ballad #analogvibes #slowtempo #autumnsong #latenightmusic #TomLysar

I Still Hear You

The Flow (FREE BEAT/DOWNLOAD)

Schattenlichter (2)

Er nickt. „Ruhe ist nicht Stille. Manchmal schreit sie dich an.“
Ich gieße weiter. Mein Griff wird fester.
„Und was macht man, wenn man eigentlich gar nicht weiß, wie man das alles leben soll?“
Er steht auf, geht rüber zur Wendeltreppe, streicht über das Metall wie über eine Schulter.
„Man lebt trotzdem. Und irgendwann merkt man: Du warst nie falsch – nur zu sensibel für das, was andere normal nennen.“
Ich will was sagen, aber meine Stimme bleibt hängen. Murschel schnurrt und lässt ein Tropfenmuster auf den heißen Beton entstehen.
„Du bist da“, sagt er schließlich. „Das reicht für heute.“

Fahrt durch Mullersand

Ich fahre. Kein Ziel, keine Zeit, nur das Knirschen unter den Reifen, das bald selbst verstummt. Mullersand. Der Name klingt weich, wie das, was hier alles überzieht: Fichten, Kiefern, Staub in warmem Licht. Der Weg verliert sich. Links Felder, rechts Wald. Und dazwischen nur ich.
Der Wind nimmt keine Stimme mit, aber er bringt Gerüche. Kiefer, trockenes Gras, etwas wie alte Motoren aus einem längst verlassenen Schuppen. Kein Ton in der Gegend. Nur das Rauschen der Felder – als würde der Boden selbst denken.
Ich trete fester in die Pedale. Nicht weil ich muss. Sondern weil ich will, dass mein Körper weiß: Ich bin noch da.
Nach endlosen Wiesen, Fichtenstaub und Mullersand schält sich der graue Block aus der Landschaft. Keine Vorwarnung, kein Übergang. VORTEILKAUF steht da, rot wie ein Trotz. Als wäre das Leben hier auf einmal ein Sonderposten. Ich halte kurz an. Der Wind riecht noch nach Kiefer, aber die Luft scheint irritiert. Murschel miaut leise zugleich im Hof. Ein Moment zwischen Welten.
Ich stehe vor dem Regal und suche… nicht genau etwas. Vielleicht eher eine Richtung. Die Preise sind groß, meine Gedanken klein. Die Brille verrutscht, ich ziehe sie zurecht. Der Schlauch von vorhin hängt mir noch in der Haltung – die gleiche Bewegung, nur mit anderem Ziel. Ich bin müde, aber das merkt man mir nicht an. Ich tue, als würde ich lesen, dabei starre ich bloß.
Dann fällt etwas. Ich höre es nicht, aber die Welt scheint kurz zu blinzeln.
„Vermissen Sie zehn Euro?“
Die Stimme ist alt, freundlich, wie Brot mit Rinde. Ich drehe mich. Vor mir steht ein Mann, der aussieht, als hätte er die Zeit durchwandert, ohne sie je gehasst zu haben.
Ich stammele etwas wie „ja… bestimmt… äh…“ Er lächelt nur und gibt mir den Schein.
Ich halte ihn fest – als wäre er nicht aus Papier, sondern aus Vertrauen.
Da begreife ich: Ich bin gerade nicht allein. Nicht beim Gießen. Nicht beim Radfahren. Nicht beim Verlieren. Auch nicht beim Finden.
Dieser Ort – die verrostete Wendeltreppe, der brennende Wald, Murschel, das Feld, sogar der Kühlschrank unter freiem Himmel – all das ist ein System. Nicht geplant, aber vorhanden.
Und ich bin darin. Sichtbar. Beiläufig gerettet von einem Mann, der längst weiß, wie das Leben zwischen Regalen aussieht.
*Er roch nicht nach Macht. Er roch nach alten Bibliotheken, nach einem Leben in stillen Räumen. Seine Kleidung war unauffällig, aber akkurat. Beige Jacke, die nicht auffallen will. Schuhe, die viel gesehen haben, aber nicht darüber sprechen. Sein Blick war wach, nicht fordernd. Er hatte diese Augen, die wussten, was man nicht sagt – weil es nie gebraucht wurde.
Vielleicht war er früher Teil der Firma, vielleicht hatte er Schlüssel, von denen keiner mehr weiß. Aber jetzt hält er mir zehn Euro hin, als sei Vertrauen das letzte echte Zahlungsmittel.
Ich sah keine Vergangenheit in ihm – nur eine Gegenwart, die still hilft, ohne eine Rechnung zu schreiben.
Ein guter Mann, sagt etwas in mir. Und das klingt in dieser Gegend wie eine kleine Revolution.*
Die Ehrlichkeit zwischen uns war keine Methode. Sie war das Material. Nicht geschliffen, nicht perfekt – aber aufrichtig genug, um selbst die sprödesten Gegensätze für einen Moment weich zu machen...)

- Fortsetzung folgt nächsten Sonntag 10:00h -

kolkhorst 2025

Schattenlichter (2)

I wrote this song about my girlfriend and if you have someone in your life that you love and care about, then this song is for you. 

Last Song

Point Michaud Summers

NickJC Silence Ft Junior Paes

Walked Through Fire

Country love song - young love and loyalty

My Man

Duncan Wood makes music with the same curiosity he brings to the night sky. A singer‑songwriter, multi‑instrumentalist, and producer from Maysville, Kentucky, he was raised in a kaleidoscope of sounds: playing 1940s swing charts in his grandfather’s big band, high‑school jazz combos, and covering Queen, Zeppelin and the Beatles with his friends. Early heroes such as James Taylor and Carole King taught him melody, while later discoveries like Nick Drake, Bon Iver, and Radiohead opened the door to texture and atmosphere.

Wood left Kentucky for Stanford University, earned a Ph.D. in physics from UC Santa Cruz, and helped design software for the Vera C. Rubin Observatory’s giant camera. Even during that research, he spent nights writing and tracking songs, designing preamps and rebuilding tape machines so he could sculpt every detail himself.

Those experiments bloomed on Away With Words, his 2023 debut album. Cut almost entirely solo in a nineteenth‑century house overlooking the Ohio River, the record pairs folk intimacy with orchestral sweep. Wood’s home‑built studio, nicknamed Red Carpet Records for its shag carpeting, turned reclaimed gear into a warm, unpolished canvas.

The release found early champions. The Wild Is Calling hailed it as “a new classic,” F Sharp Minor praised its “exquisite instrumentation,” and Zoe Konez called the arrangements “absolutely epic as they grow.” Reviewers noted that a single voice, guitar, or French horn can widen suddenly into full ensemble without losing its human core. Wood performs nearly every part himself—guitar, piano, pedal steel, French horn, flute, drums, trumpet, saxophone—eschewing programmed sounds and heavy editing. Zach Moses appears on bass and co‑production, while opera singer Chanslor Gallenstein lends harmonies on two tracks. Outside his own work Wood produces Santa Barbara‑based singer/songwriter Bradberri and plays sessions across genres.

After defending his dissertation in March 2025 he moved to Nashville to pursue music full time, carrying physics with him as a way of thinking rather than a separate career. In his view songwriting and science both ask the same question: what hidden patterns can turn noise into meaning?

If there is a throughline in Wood’s work, it is a sense of quiet precision, an attention to texture, shape, and silence that rewards close listening. His songs often feel like artifacts unearthed rather than built, with melodies that unfold like memories and arrangements that shift just when you think they have settled. It’s the kind of music that stays with you, not because it demands attention, but because it earns it.

I write songs.  I'm not a performer any more than I need to be to have my songs heard once in a while. I hope that better musicians than I encounter my songs and decide to play them.  I just write songs to have them exist in the world. If the world likes them then the world can do with them what it will.  All these recordings are demos.  I've tried to make them as musically interesting as I can but they are all awaiting the skilled hand of someone who knows how to make songs shine.

This Head Ain't Big Enough for the Two of Us

Duncan Wood

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