Fairytale Forest Pt. 1

Hip Hop ?? Colors

'irate' with Harmful if Followed 

Harmful: lyrics, vocals
Scotty: lyrics, vocals, mandolin, guitar, cuica 

I’ve got this problem, mate.
Perhaps you could relate.
It's my woman. She's gone irate. 

Mate I’ve been telling you for years 
That crazy lady ain’t worth all them tears
She’s mentaler than you
And that’s quite hard to do 
Mate come live with me
I’ve not thought about the physical side but I suppose we could suck it and see 

Mate, everything sounds lovely.

irate (with Harmful if Followed)

transmission from a distant planet

From the wonderful Duke Ellington, with a bit of ambient & electronic flavour.
Hopefully, a few moments of calm amidst all the ugly noise.
: )
summer aft on the veranda. breeze in the trees, commuters homeward bound, rainbow lorikeet and chorus (+ couchée du soleil . .

Satin Doll ~ electric sundown

2037 Corporation Rebellion

07.03.2025 new z g2

Jar Of Jarre 18

Mutant Rock

Soooo Blue is out now link in bio💙
Soooo Blue is my 19th single. This single contains two songs. First song, Soooo Blue's genres are Folk rock / Singer-songwriter. The mood is Sad and the styles are Acoustic / Ballad. 81 BPM. I wanted to create a love song that is as atmospheric and modern as possible. Therefore, I referenced Beck SEA CHANGE. I was most influenced by that. I've been creating music all by myself in my room, and I don't really go out of the house very often, But I dream of falling in love with someone someday. I expressed my imaginary love with this song.

Lyrics : 
(Sunday rain)

Here comes the morning
There goes the night
Here comes the morning
There goes the night

I must show you
My everything
You never show me
Your everything

Sunday rain
(Sunday rain)
Sunday rain
(Sunday rain)

Sunday morning
I must leave here

Hmmm Hmmm
Hmmm Hmmm

I must understand
Your everything
You never understand
My everything

Sunday rain
(Sunday rain)
Sunday rain
(Sunday rain)

Sunday morning
I must leave here

Hmmm Hmmm
Hmmm Hmmm
Hmmm Hmmm
Hmmm Hmmm

Here comes the morning
There goes the night

Soooo Blue

G-Beautiful Stigma

My Method of Composing and Producing

I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Suite for Woodwinds and Percussion No. 2

Fairyport Convent is a Polish psychedelic space rock band formed in Poznań in 2021. The band is known for its unique blend of psychedelic rock, space rock, and garage rock, influenced by bands such as Hawkwind, Pink Floyd, and The Stooges. The band's lyrics often explore themes of spirituality, mysticism, and the occult.

Signed to The Swamp Records.

Logo by Justin Jackley.

Mutant Rock

Fairyport Convent

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