This should be the soundtrack of a best-seller movie!!!!

This is superb! If the box would be accompanied by this music, I'd definitely open it!!

Marvelous work, cinematic flow from finest!

is it save to listen to this i have heard its bad luck to open pandora's box

Fantastic music Frank, I love the dramatic sounds you have created.

Excelente y preciosa composición! 🔥💗🎶

This came up while I was working - it was so good that I stopped what I was doing to like, comment, and repost. Truly a moving instrumental piece. Great work!

Just a short song about the rising cost of freedom

Land Of The Free

My Marie

Uprising in Blue

Solitarian

Bandcamp

Epimetheus ("the too late thinking, recognizing") took Pandora to wife despite the warnings of his brother Prometheus ("the thinking ahead"). When he opened the box held out to him by Pandora, evil and suffering came upon mankind, only hope remained in the vessel.

Whoever finds the box, "Keep the lid CLOSED!!!"
(Edited) Memo: better DO open the box, because now there is only hope in it....

Note: Hephaestus is to blame. Who brought him the clay from which he created Pandora at the behest of Zeus?

german translation 😉
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Epimetheus („der zu spät Bedenkende, Erkennende“) nahm Pandora trotz der Warnungen seines Bruders Prometheus („der Vorausdenkende“) zur Frau. Als er die ihm von Pandora hingehaltene Büchse öffnete, kamen Übel und Leid über die Menschheit, nur die Hoffnung blieb in dem Gefäß zurück.

Wer auch immer die Box findet, lasst AUF JEDEN FALL den Deckel darauf!

Anmerkung: Hephaistos ist schuld. Wer nur hat ihm bloß den Lehm gebracht, aus der er Pandora auf geheiß Zeus erschaffen hat?

🎞️NEW Video

Pandora's Box

Promised Land

contradictions

Contradictions

Brian Butts - Guitar, Drums, Bass, Keyboards, Main Mix
Nigel Manning (The Windscale Blues Experiment) - Saxophones, Saxophone Arrangement https://soundcloud.com/windscaleblues?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Reification

Spark (feat. The Windscale Blues Experiment)

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

eddy gave Josh and me a rocking and  skanking organ/guitar track to get us started - this is what we came up with :)))))
Beats are from Looperman - many thanks to the creators!
WuTang Drums by mk12345 and CalmariaXBoom-Bap Drums by Zeth9

5ynt Dub - with eddyoffline and Entheogenic Psychonaut (Josh Clary)

[未来への道 Soundtrack]
00. 未来への道(The Path to A Future, Main Theme)
01. Introduction
02. 幻の出逢い(Phantom Encounter)
03. 運命の交差点(Crossroads of Fate)
04. 新しい道(A New Path)
05. 再生の瞬間(Moment of Rebirth)
06. Ending

Introduction(未来への道)

When I don't have the time to actively listen to my favorite artists on soundcloud, I just leave the stream running...while washing up in the kitchen, for example 😆

By the way: this user-92853963 was my old link address and leads to the empty.... I AM NOT A ROBOT!

********************************************************************

A long, long time ago, there was an organ in the Christmas-decorated living room in his parents' house, where Frank grew up. Originally bought by his father for his two older siblings, they showed no interest in playing the organ. Frank, however, did. White and black keys and giving off strange sounds. 

So at the age of 9 he began to let his fingers circle on this instrument, searching for the right keys like on a typewriter. And another 9 years would pass before he could buy his first own instrument. Already at the age of 13 he made notes about the then current synthesizers, bought one magazine after the other and visited music fairs in Frankfurt, Germany.

His first keyboard was the Yamaha DSR-2000, which he bought in a music store near his hometown Biebertal. In installments! Finally he could develop himself further - away from the limited tonality of the small organ. The built-in 8-track sequencer helped him to reach unimagined heights. 
Little by little his equipment expanded and his ambition to create music like that of Jean-Michel Jarres came closer. Influenced by this and countless other musicians of the time, his interest grew, but he taught himself everything. Not even having attended a music school or being able to read music at all, he wrote one song after another and recorded them on the only medium available to him at the time: audio cassettes.
Many of these recordings are unfortunately lost forever, because cassettes are and were not the best recording medium. He has to try to play many of his songs from memory. 

In 2007, he fulfilled a long-awaited wish: to buy a KORG. He had always wanted to own one, but with the latest synthesizers at the time of their release having a purchase price of over 6000 D-marks (the currency of the time in the 1980s and 1990s), that dream of owning one was far away. So in 2007 he bought a used KORG 01W/FD at ebay. And as before with the purchase of the Yamaha keyboard, a completely new world opened up to him.

In addition, there were expanders and sound modules from Kawai, Roland and Yamaha (K1m, SC-55, QY10). Six years later his enthusiasm for making music ebbed and rediscovered his hobby (which it always was and still is). In 2018 in April he decided to present his music to a wider audience and uploaded his first song on the platform soundcloud. Since that time, thanks also to the ever-evolving software, he continues to evolve, experiment and relive his times through music.

Pandora's Box

𝐹𝓇𝒶𝓃𝓀 𝑀𝑒𝒽𝓁

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