Great arrangement and love the world weary vocal. So good👏👍

J'adore le texte et ton jeu avec les mots, authentique !

Super texte et dit avec une so cool attitude 💯✌️

VANITAS VANITATIS PÂTURE DE VENT
ON SE PREND POUR UN ARTISTE
DÉBORDANT DE TALENT

MAIS COMME DIRAIT LA PALISSE PÂTURE DE VENT
VANITAS VANITATIS ON A LE NEZ DANS LE NÉANT

UNE BRANLETTE À LA NARCISSE
UN COMPTE EN BANQUE EN SUISSE
ET ON SE CROIT SORTIS DE LA CUISSE
DE JUPITER DIT JOVIS

MAIS VANITAS VANITATIS PÂTURE DE VENT
TOUT LE MONDE N’EST PAS ELVIS
ON A LE NÉANT DANS LE SANG

UNE BRANLETTE À LA NARCISSE
TON NOM AU BOX OFFICE
ET PUIS SPLASH DE PROFUNDIS
VANITAS VANITATIS

VANITAS VANITATIS PÂTURE DE VENT
ET COMME L'A DIT JÉSUS CHRIST
QU’ÀS TU FAIT DE TON TALENT ?
AU SUIVANT

VANITAS VANITATIS (Lyrics)

A breakup love song or breakup song to the universe? Open for for your interpretation.
From my new EP "Short Songs For Tall Minds" 2022 on Soundcloud.
Lyrics:
Chasing hypnotic cosmic dust
Outside your force field
Your gravitational pull
You don't really like music, do you?
If you don't care
Then I don't care
You just like how the bass
Bruises the air
I just pass my time
On stupid things
Dancing in the dark
Chasing your hypnotic cosmic dust
I just spin around
Chasing your hypnotic cosmic dust

Debris Field

Made in #Ableton (2017)

Genre;
#Electronic

Solar Quest

This is an afrobeat song that I came up with based on a beat I boosted from BandLab. They have all kinds of great beasts on there, btw. Anyway, I sent it halfway around the world to my friend Mikey McFaffington in Australia. he proceeded to summon his magical saxophone throughout the song, bringing it to life. We both had a lot of fun making this one, and appreciate you taking the time to read this. I'm playing bass, guitar, electric piano, and synth horns on this one. 

No Such Thing as an Enemy (with Mikey McFaffington)

Having washed his soul in the River, the main character from my last song has now become a better Man, well nearly a better man. When you listen to the lyrics i think we may all agree that he might have to make a visit back to the River ..pretty soon.

Used the same guitar as the last time, added some distortion to the lead guitar to add dynamics at the chorus and introduced an acoustic guitar in the Right speaker with the bridge pick up guitar in the left speaker, sort of spreads the sound, I loosened the snare on the  snare drum to get more of a rattle and pumped up the kick a bit. Hope you like it ..All you sinners .

Written, played and produced by: The sinner Johnny Mc Farlane.

A Better Man

Kit: Hammerhead, volca fm, uKORG, Jamstik, Air (eno), Teraverse, SynthMaster One, Logic Pro X.

Acknowledgements:
Vocals - 
(1) Modified excerpts from “I Am Stretched On Your Grave” traditional 17th century Irish folk song (unknown) sung by queeniemusic (Kimberly Steele) (2009). Licensed under a Creative Commons Attribution (4.0) license (CC-BY).
(2) Field recordings from Valencia. Hotel rooftop bar guitar duo, church choir, accordion busker, people.

Cover Art - Detail from “Far from here” by Klara Kristalova, which features “Beast” (2019) and “Watching the sleeping woman [after Rousseau]” (2017).

Stretched On Your Grave (ft. queeniemusic)

Recording sessions from 25-07-2022 / 30-07-2022.
3 MOOG Modular (vst Arturia) & VCV tracks,
presets, mixing, processing and editing: Pier WILL.

________________________________________________________________________
🛠 - Made with MOOG & Modular / Multi-tracks
🎹 - Composed, arranged, performed, produced by Pier WILL & Studio 4H09
🔲 - Artwork - Pier WILL
🙏 - Acknowledgements - Ableton, AKG, Arturia, Audacity, Cantabile, Dell, Focusrite, Hewlett Packard, Logitech, Korg, M-Audio, Sony, SoundCloud, Teac, Techniks, Yamaha.
⚙️ - #Ambient #Movies #Experimental
________________________________________________________________________

❤️Love, 🕊️Peace, 🙏Respect

Presence

Notice: all (NEWAGE79) tracks are also available under
 user:
 sound23-941370948 plus more tracks over 600..!👍

AccusticBluesRock

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

Made in #Ableton (2019)
Vocoder; Boss VO-1

Genres;
#Electronic
#Pop

Behind These Walls

“finding the melody”

art work: Pexels via Pixabay

喧噪に埋もれたうたの節回し
掘り当てようと
街をさまよう

Someone told me that melodies are buried in the hustle and bustle of the city. Since then, I have been walking around the city trying to dig out melodies.

VANITAS VANITATIS (Lyrics)

IMRE LODBROG

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