Accumulator

Hyper Lightning Hydra is a one man project exploring the reaches of music with massive layers of sound designed to seduce the listener into some sort of musically orientated metaphysical sense of accomplishment and fulfillment. Spiritually driven. Sensually climatic. The music of the Hyper Lightning Hydra will push you to new mental limits through a sublime balance of cacophony and harmony, in a myriad of styles and genres, by resonating in the deepest cavities of your being.

Beware that all uploads are in lossless formats so prepare for real sound and relatively longer download times.



My BandCamp: https://j3tb0t.bandcamp.com/ 
I am just starting to make electronic music, I was using open source programs like LMMS, Garage band, ZynAddSubFX and Zerius Vocoder. Now I am using Studio One, a MircoKorg, and a Korg Kross. I take inspiration from a wide variety of music. Some of my favorite eletornic artists are: seabound, Iris, Assemblage 23, Neuroticfish, Covenant, VNV nation, kraftwerk, solvent, wolfsheim, Apoptygma Berzerk, Beborn Benton, mind in a box, and THYX, Cesium 137, Neuroactive. 
My Twitter :  https://twitter.com/Jetfenelon
My YouTube Channel: https://www.youtube.com/channel/UC2DlLD8xBlFD8LiM_IzALRQ

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
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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.

Independent writer and producer based in Spain. I have been in love with synthesizers and electronic music since the 80s, from early pioneers like Ciani, Jarre, Vangelis, Kraftwerk, Tangerine Dream, to modern electronic dance music, in all its different flavors.

Currently enjoying exploring different genres, like IDM, melodic/progressive techno, organic house, synthpop, and others, trying to find my musical voice.

Booking our artists: hasrecordings@gmail.com

HS Recordings is a small label in the making, it was organized back in 1999, and behaved like a Phoenix bird. It soared with a musical opus, then fell to the ground. The label was organized by two friends Jan Slavov (Dj UNO) and Sergey Ptitsin (  ZARINE, S13, NIR300, PTITZYN ...) on the basis of the HAVANA CLUB institution in St. Petersburg. Life has been swept away by comrades around the world, but the idea of ​​the label is still alive and is being realized again. The label, as from the very beginning, is engaged in interesting projects  preferring electronic music. ZARINE was one of those who stood at the source in the 90s  Drum and bass in the culture, and today promotes broken rhythms in massy.Sozdav recording studio, has been mixed and the release material of other musicians of different napravleniy.Currently the label is looking for sponsorship to enter the market as the capable UNIT.

Accumulator

Gravity Wins