Words by Diwas Gurung and Bikash Rajkarnikar
Music by Diwas Gurung
Mixed/Mastered by Phil Abbot

I wrote the most of this song a couple of years ago (2011?) my memory is hazy. In a lot of ways this was the first "proper" song I had written, an homage to the songwriting tradition of the beat bands of the 1960's. 

This song holds special meaning to me as my father is a pilot for Nepal Airlines and has been flying aero planes for a living since as long as I can remember. In fact, he wrote "Mai Runchu" while he was stationed in Dolpa. As a result, planes have always held a special nostalgic feeling for me, especially the twin otters that fly domestically within Nepal. A lot of the songs for the new album have elements of that kind of that faint yet unshakable nostalgia of ones younger days.

I still remember the first time I was able to accompany my father to the cockpit of one of these planes. All the dials, the switches, the knobs and the levers fascinated me even more than the view outside the window. While I never followed in his footsteps and became a pilot, I have somehow ended up working with the dials, switches and knobs as well. The only difference is that instead of levitation, it creates sound and is a vehicle that carries you beyond the realm of the corporeal.

The initial idea was to imagine someone who grew up in a situation that was the complete antithesis of my childhood. This song was written for that little child who has never seen a plane up close. To him or her it is a thing of mystery, curiosity and in some small way, hope.

A huge thanks to Bikash dai for completing the lyrics to the songs. When I started all I had was the first verse and the idea. He was the one who fleshed it out with the beautiful imagery and a wonderful chorus.

All of the recording for this song was done by me in my small bedroom on my laptop. I was living above a restaurant then so I remember having to schedule vocal takes  in between the times they would use this huge exhaust fan which was right outside my window! So a thank you is in order to Phil Abbot who was able to transform this bedroom production into something that I am happy and proud to share. 

I have lived with this song for years and it feels good to finally release it. I hope that it brings you the same joy it has brought to me and my family.

Thank you,

Diwas

Bimaan

Where Dragons Are!

⭐️ ОСНОВНОЙ ЖАНР: Spiritual Handpan / Meditative Spoken Word / Contemporary Sacred Music / Ambient Poetry

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📀 О ТРЕКЕ: Глубокое духовно-философское высказывание, облечённое в форму поэтической молитвы и медитативного диалога. Трек раскрывает путь веры через трансформацию местоимений: «Я верю» → «Мы верим» → «Ты веришь?» — от личного убеждения через соборность к евангельскому призыву. Это не религиозная догма, а приглашение к доверию Провидению, к вере в скрытую доброту, ведущую нас дорогой Судьбы. Минималистичная форма скрывает колоссальную духовную глубину — как сама «доброта, скрытая от посторонних глаз».

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🎹 ЗВУК: Инструментальная композиция на хэндпэне в стиле Carlos Rodriguez (Kabeção) — медитативная, но динамичная, с естественным реverbом и «дыханием» между фразами. Темп 75-90 BPM создаёт пространство для размышления. Алхимическая трансформация тональности: D minor (начальная боль, минорная задумчивость) постепенно переходит в D major (мудрость, умиротворение, разрешение). Натуральные обертоны хэндпэна высочайшего качества создают мистическую модальную атмосферу. Три голоса (два мужских, один женский) произносят текст в формате spoken dialogue поверх инструментального фона — не пение, а проникновенная речь, молитва. Критически важны динамические контрасты и паузы, позволяющие каждой фразе проникнуть в сознание слушателя.

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💛 ОСОБЕННОСТИ ТРЕКА:

- Трёхголосый духовный диалог (2М + 1Ж)
- Прогрессия местоимений: Я → Мы → Ты
- Алхимическая трансформация: D minor → D major
- Медитативный хэндпэн в стиле Kabeção
- Spoken word поэзия на русском языке
- Философско-богословская глубина
- Тема скрытого Провидения и Судьбы
- Натуральный reverb и пространственность
- Модальная мистическая атмосфера
- Динамические контрасты и «дыхание»
- Минимализм формы, максимум смысла
- Инструментальные медитативные хуки
- Путь от боли к мудрости
- Соборная вера и личный призыв
- Современная сакральная музыка

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© Автор лирики: Вячеслав Тюменцев  
© Аранжировка: NEVERCOMEBACK

🎵 Для тех, кто ищет тишину в шуме. Для медитации над вечными вопросами. Для моментов, когда душа задаёт вопросы Небу. Это не просто музыка — это молитва в звуке, философия в ритме, диалог с Провидением...

℗ & © NEVERCOMEBACK

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🏷 ТЕГИ:

#spiritualmusic #handpan #meditativemusic #spokenword #sacredmusic #russianpoetry #ambientmeditation #contemporarysacred #kabeçãostyle #providemusic #spiritualjourney #acousticmeditation #hanginstrumental #faithmusic #philosophicalmusic #Dminor #transformativemusic #prayerinmusic #russianspiritual #modalmusic #holyambient #divineguidance #sacredambient #orthodoxinspired #contemplativemusic #spiritualdialogue

#nevercomeback #VyacheslavTyumentsev #sunoai #aimusic #russianpoetry #modernpoetry #spiritualpoetry

📝 ТЕКСТ:

⬜️ RUS ⬜️⬜️⬜️

🤝 [Verse 1]

Я верю – Бог заботится о нас...
Уверенной отцовскою рукою,
Скрывая доброту от посторонних глаз,
Ведёт дорогою, зовущейся Судьбою...

🤝 [Instrumental Hangspan Hook] 

🤝 [Verse 2]

Мы верим – Бог заботится о нас...
Уверенной отцовскою рукой,
Скрывая доброту от посторонних глаз,
Ведёт дорогой нас... 
Зовущейся Судьбой....

🤝 [Instrumental Hangspan Hook] 

🤝 [Verse 3]

Ты веришь? – Бог заботится о нас!
Уверенной отцовскою рукою,
Скрывая доброту от посторонних глаз,
Ведёт дорогою, зовущейся Судьбою...

🤝 [Hangspan Solo] 

🤝 [Hangspan Outro]

🤝 [Fade-to-End]

🎵

🤝 Я верю, Бог заботится о нас



Alan Sugaya

1,775 followers
14515 Tracks

Overdub instrument at Home Recording - 12/08/2025
Performed on Yamaha DTXtreme III Drum Kit with a Yamaha M12 Percussion Drum Pad


I can't cry for you anymore  -  Vocal n Drums.wav

Composed by: Shreeti Pradhan
Arrangement: Yuvash Vaidya

Shreeti (arr. Yuvash) - Ujyalo Junkiri

A DARK PLACE TO THINK
- all music written and produced by Jerusha -

take a fistful of sand
let it slip through your hand
if you want to be free
say after me

i'm a stranger to this place
i'm a stranger to this time
i'm a stranger to my lover
i'm a stranger to my mind

native stranger

if you knew it wouldnt ask for apologies
for speaking in riddles and acting mythologies

it keeps dripping like rain
dripping like rain
it keeps dipping like rain
all down on me

i'm scared of words and the bitter sun
dont make me speak, don't make me run
in the roundabout ways of the world
what goes on in the mind of a little girl

Rain - Jerusha x Diwas G

This is a track recorded live for Yomari Sessions Season III by Katha Haru

Video Link : https://goo.gl/N4tPD9

Mero Kamana (with Kriti Nepali) - Live from Yomari Sessions III

This is an improvisational piece born out of influences from Music Therapy chant circles that I have been facilitating in my home country Nepal. This is a collaboration for Ayushma Regmi's curatorial display inhibitions.inhabitations that was held in New Delhi, India. Here is a short introduction on both music and her work.

ā-é-ho-ā-é
shreeti.pradhan 

“whenever i facilitate music therapy chant circles in kathmandu, i am in awe of the grounding it offers to participants while bringing in their unique blend of voices and body movements. inspired from these shared improvisational processes, this music, too, engages in a journey from one breath to the next. it simply wants to dance within the shared experiences of living beings.”  

shreeti is a music therapist, musical artist and student of buddhist studies. she collaborates with artists and psycho-social health professionals on programs that address emotional wellbeing. shreeti is also involved with the experimental musical band udumbara.

Composition, vocals, percussions by Shreeti Pradhan
Recorded and mixed by Ganga Thapa

inhibitions.inhabitations 

do bodies belong? or does embodiment splinter a whole into irreparable fractures? were we born dismembered? are we destined to be incomprehensibly disfigured? who–and what–deserves the dignity of being a body? some body? no body? every body? this exhibition attempts to read into bodies–human bodies, natural bodies, man-made bodies–to decrypt that fundamental question about what it means to be human and whether this sense of being is rooted in the material world. the earth emerges as a prot/antagonist in this story of self, a playground where we make play, chart meaning.


shreeti pradhan 
manantuna jyapoo
anjila manandhar
bunu dhungana


curated by ayushma regmi

ā-é-ho-ā-é

Night is 6th single from our upcoming album Sullen Days

Written, Composed, Performed and Produced by Phosphenes
Spotify: https://open.spotify.com/artist/2HISY...
Soundcloud: https://soundcloud.com/phosphenesthe
Instagram: https://www.instagram.com/phosphenes_the
Facebook: https://www.facebook.com/phosphenesthe

Mix, Mastered and Co-Produced by Diwas Gurung
https://www.youtube.com/user/diwasgurung
https://www.instagram.com/diwasg

Bass by Marcus Dengate

native stranger

Jerusha Rai