Loving the ebb and flow of the higher register and that fat bass driving it all forward!

a very cool combi of sounds........cool and mysteriously alluring vibes

Bad a$$ ba$$! Calming, intriguing setup and harmonies! <3

Nexus

Weirdo

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

Another one from previous century cassette !
Hope you enjoy the song despite the lo-fi sound 

I wrote the song, sang and played it 
Nataly NGM made the ideal artwork 🧡🩵

Gotta Get Out Of It - Bruno C

Probably Be Fine

Pleased to present the final track from our latest album, 'Squaring The Circle,' the fourth solo album by Amanda, music by Verulium, full album available on Bandcamp, we hope you’ll enjoy!

https://amandasanderson.bandcamp.com/album/squaring-the-circle

Squaring The Circle

Golden Fleece

JTSunrise Rendition of St. James Infirmary

Slow Blues, 60bpm 4/4

[Refrain]

Dm                    A7              Dm
I went down to St. James Infirmary 
Bb7 A7 Bb7 A7 Dm
To see my Baby there
                        Dm                     A7                 Dm
They had Her stretched-out on a marble table 
Bb7    A7 Bb7 A7 Dm
Asleep, so cold, so fair

[Verse]

             Dm                      A7                Dm
Let her go, You let Her go, God you let Her
Bb7    A7 Bb7 A7 Dm 
Wherever You may be
                Dm                                  A7                 Dm
Couldn’t never look this whole-world wide-over
Bb7    A7 Bb7 A7 Dm
Find a girl half as sweet

[Verse]

            Dm                 A7                     Dm
Gonna bury Her in Her strait-laced boots 
             Dm             A7                 Dm
In Her  walk’n coat and Cloche’ hat
          Dm                    A7            Dm
Put a twenty-dollar bill in Her coin-purse 
        Bb7                    A7   Bb7 A7 Dm
So She’ll know She died standin' pat

An American folk song about going to St. James Infirmary to retrieve a deceased lover. The song evolved over time and potentially from British origins in the 1800s, roots can be traced to the early jazz and blues era in New Orleans. Lyrics and melody were adapted and rearranged by numerous artists over centuries and emerged from a blend of folk, blues, and jazz. It’s popularity grew through oral traditions, diverse interpretations, and legendary performances 

Marble tables were practical for hygiene in morgues due to their white, durable, and non-porous characteristics. The thermal mass of a thick marble stone slab table allowed for temperature retention—ideal for icing in warm climates or maintaining an ambient cool surface in morgues which were typically located in medical facility basements

During the late 1800s and early 1900s, fashionable women dressed in tailored jackets, walking coats, and tailored suits. Garments were designed to be fashionable and practical. Popular was the tailor-made suit, which consisted of a matching jacket and skirt. Suits could have varied styles, including fitted jackets with defined waists and skirts. A walking coat was characterized by its length and suitability for outdoor activities. Women's fashion during this period saw a shift towards more tailored and practical clothing

Unlike higher heels of previous decades, shoes in the 1920s often had lower, practical heels to reflect the era’s active style. Boots had lace-up designs, providing a snug fit around the ankle and calf. This style allowed women to participate in energetic social activities. A stif pointed-toe contributed to a sleek and modern look and had defensive advantages. Boots were made of leather or fabric. Suede and patent leather being also popular

A Cloche (“bell” in French) is a bell-shaped fitted hat that became fashionable in the 1920s, complementing shorter hairstyles of the time

"Standing pat", a poker term meaning to keep one's hand as dealt without drawing additional cards, suggests the idea of a person being content and staying true until the end

In 1927 Fess Williams and his Royal Flush Orchestra were first to record the song under: "Gambler's Blues", crediting Carl Moore and Phil Baxter’s “St. James' Infirmary”. The song became more popular after Armstrong's comedic 1928 recording which mocked more emotionally serious versions. By 1930 at least twenty different recordings had been released. The Duke Ellington Orchestra recorded the song multiple times under names like "The Ten Black Berries", "The Harlem Hot Chocolates", and "The Jungle Band”. In 1933, Cab Calloway's version was released in a classic Betty Boop cartoon and his instrumental version featured Calloway's related hit song - Minnie the Moocher. Irving Mills managed both Calloway and Ellington. Mills Music published both artists 

My version of lyrics. Info from the internet

JTS

St. James Infirmary

Cast of Characters:

Computart – @computart – guitar, vocals/whistling, composition

Llanpsych -- @llanpsych -- Tez – mix and production 

K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums and percussion

Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –-four string fretless bass and mandolin

This song started as a recording of Computart playing the guitar and singing/whistling to a metronome, which you can find raw on his page. Having worked together before on a song called The Shining, the Frenchman reached across the pond again and asked me, the Yank, if I would like to add anything to this. This style of music being one of my favorites, I jumped at the chance. Of course, I got Ken involved right away because every great song needs a great drummer. I came up with a bass line, to which Ken added drums, to which I in turn redid my bass line, as is our usual process. I then added the mandolin. Then, Ken added the hand drums to put the icing on the cake. Tez was generous enough to produce and mix this for us, and we feel like he got it to sound like we were all playing in the same room together. 
  We hope you enjoy listening to this as much as we enjoyed putting it together.

Plaisir (The Eclectic Collective with Computart)

Everything In Love

Level Ground

💿

Sometimes you start playing and you get carried away by your emotions.

A veces empiezas a tocar y te dejas llevar por tus emociones,

Emotional

A remix ? Why ? cause i recently re listened to this song and realized i didn't pay justice to Georg s great work . All i have to say is sorry Georg mon ami :))) Hope this one repairs the prejudice !!!

Qui Tu Es Special Georg Remix

Elements of Synergy is : Chris Dargay & Scott Tumino 
Collaborations Welcome!
Email me at :  Greffult@aol.com

Nexus

Elements of Synergy

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SANDERS

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