Nachtflug

Flug Fünf

Coast

The Heights

Stream: https://open.spotify.com/album/5XPxpD330QwOEOOfmRZzwe
Buy: https://atlascedar.bandcamp.com/album/fool-ep

A song about climate change and our effect on the planet, its climate and our future. Inspired by a Nature paper about 'the trillionth tonne' of CO2 emissions, this song had/has a working title of 'Sonoma' and was originally about grapes 'withering on the vine'... I didn't realise that 'withering on the vine' is an expression about doing nothing while a problem gets worse and worse, which fits in very well with the subject of climate change.

https://www.nature.com/articles/nature08019
http://trillionthtonne.org/

This song is the 'twin' song of 'Fool' - both songs were written within 48 hours of each other back in May, and both songs were recorded and published online within 24 hours of each other... in August. Both songs were written and played using a bouzouki as opposed to a guitar.

Photography by Hasan Almasi (@hasanalmasi)on Unsplash.com

Music and lyrics by Atlas Cedar (c) 2019
Original improv: 16th May 2019
Recording: 24th August 2019

wither on the vine
poisoning the wine

the futures on the line
running out of time

what have we done
can't blame it on the sun
the time will come

beyond the trillionth tonne
planets going to burn
facing everyone
the barrel of a gun

too late now
can't blame it on the sun
the time will come

what have we done
don't blame it on the sun
the time will come

Beyond The Billionth Tonne

🎧 Listen on Spotify

Beyond The Trillionth Tonne

Composing, drums programming, playing all guitars (rhythm, lead, bass) : Kontra Szabolcs.
Special thanks for mixing/mastering to @Valakey. Big difference!

Cover photo is from Etienne Marais. Page: https://www.pexels.com/@etienne-marais-54779

Release date: 04. 04. 2020

Soulless Son

Joshua M Norton's Album

We Turned into Autumn Leaves

Edge of Infinity

More Core

Detritus

Is It Them?

Traces We Left

https://www.youtube.com/watch?v=dJfP1rvFVEk

First Time

A small note on my own behalf: I have noticed that my playback figures have dropped dramatically. The statistics show that the number of playbacks has dropped from 2000 per week to just under 200.
On the one hand, this is frustrating, as everyone sees this as an indicator and confirmation of their work. On the other hand, figures are not particularly important, but one wonders what is wrong. In my opinion, SC has changed a lot, uploading tracks has become more complicated and constant security queries are annoying.
In addition, great artists are disappearing from the platform, partly by their own choice, partly because they have been banned, the algorithm has “recognized” them as spam and mercilessly deleted their account. I'm still a paying member, but my attitude towards this has changed...

Please let me know your experiences and impressions.

😮‍💨😔


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.

Traces We Left

Frank Mehl

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