Name: Asura Rebirth by Jim Lynch in Table of Elements
Duration: 3 min 41 s
Description: Mid tempo instrumental, world percussion, Asian flutes and plucked strings, synth pads

good work, please comments my track: https://soundcloud.com/woblof-mixes/is-it-bad-to-be-alone

Nice exotic flavor on these new pieces, Jim. I like the directions you're exploring. :)

very interesting track, deep and complicated. love it!

Beautiful vibe and ambient sound...Dig the description and story of Demigods/Divas,  a subject worthy of address...

Some of my favorite tracks on soundcloud.

Table of Elements

Performed by violinist Lieva Starker in Birmingham.

"Desire, however, returns in a different guise in Pierre-Henri’s composition, 'Spelling and Sounds'. Here, and unlike some of the lusher melodic lines heard before, desire is incessant, if not "obsessive", as the liner notes suggest. The constant—almost aggressive—return to a single idea in this work makes it perhaps one of the most cohesive on the album, but it also recasts the intimate medium of the solo violin as a medium well-suited to searching, or even digging, into its rich sonic palate." William Fourie for Music in Africa 
https://www.musicinafrica.net/magazine/lieva-starker-–-weerspieëlings

Spelling And Sounds (excerpt)

LE CIEL ÉTAIT TROP LOURD

🎵 Title: Pentajazz Vocal Romance (Lounge Bass Piano Jazz Remix)
🎼 Composer: Michael Herter

🕒 Duration: 01:54
🐢 Tempo: Medium
🎻 Genre: Jazz / A cappella / Remix
🎧 Mood: Romantic, Emotional, Poetic
🎬 Video:
📀 Original: https://michaelherter.bandcamp.com/track/lounge-bass-piano-jazz-modern-sophisticated-elegant-intense-soft-acoustic-noir

📝 Description

Fall in love with harmony.

"Pentajazz Vocal Romance" transforms my original lounge-jazz piece "Lounge Bass Piano Jazz" into a sumptuous a cappella experience. 

Listen here:

https://michaelherter.bandcamp.com/track/lounge-bass-piano-jazz-modern-sophisticated-elegant-intense-soft-acoustic-noir

Every instrument gives way to the human voice — rich basslines, percussive beatboxing, and velvety multi-part harmonies merge into an intimate, elegant tapestry of sound.

Whether you’re unwinding at twilight or sharing a quiet moment, this track envelops you in a warm, vocal embrace.

🎼 Key: c-moll | Time Signature: 4/4 | Tempo: Varies bpm

Contains synthetic content, digitally generated.

► Support my music: https://bnd.link/sibviolin
—
Your support means the world to me and helps me continue creating music. Every like, share, and subscription is deeply appreciated.

🙏 Thank you for listening!

JAZZ and BLUES

Pentajazz Vocal Romance

She comes as light or as shadow, as storm or as breath. She appears and she disappears, untamed. 
Love, a fleeting spark that molds our soul, giving us strength, taking it again, and often she is just an echo lost in time's quite depth. 
A sensual saxophone, a contemplative piano, and a restrained string orchestra mourn the elegy of love. Behind the veil of tender notes and simple melodies and harmonies, there is a straining pulse, uneven, aching, drowned in melancholy. Deep within it is quietness, a love undone, too sad to tell.

Pandemic Suite – 11. Lost Love

An orchestral cry of rebellion, a fierce uprising against despair. 
But the strength is fleeting— and the music collapses back into itself, like a wave that rose too high, only to break in silence.

Pandemic Suite – 10. Rebellion

🎵 Title: Wasteland of Time
🎼 Composer: Michael Herter

🕒 Duration: 01:09
🐢 Tempo: Moderato
🎻 Genre: Hybrid / Cinematic / Soundtrack
🎧 Mood: Horror, Epic, Dark, Dramatic
🎬 Video: https://www.youtube.com/watch?v=7qJmmabJajc

📝 Description
"Wasteland of Time" drags you into a shattered future with a rumbling drone beating like a dying heart. Jagged strings and metallic strikes clash like steel on bone, while ghostly cries and distant screams echo through skull-strewn streets. Corroded winds carry decay across crumbling ruins as twisted echoes rise into savage crescendos. Each silence deepens the dread; every surge feels like a final gasp — the merciless soundtrack to humanity’s collapse and the end of time.


🎼 Key: c-moll | Time Signature: 4/4 | Tempo: 115 bpm

► Support my music: https://bnd.link/sibviolin
—
Your support means the world to me and helps me continue creating music. Every like, share, and subscription is deeply appreciated.

🙏 Thank you for listening!

Wasteland of Time

🎵 Title: A Fireside Fairy Tale
🎼 Composer: Michael Herter

🕒 Duration: 03:17
🐢 Tempo: Slow
🎻 Genre: Jazz / Lounge Jazz / Smooth Jazz / Remix / 
🎧 Mood: Christmas, Romantic, Nostalgic, Magical
🎬 Video:

📝 Description

Imagine the sound of a perfect Christmas Eve, captured in a timeless jazz trio. This is it.

This track is a warm, intimate jazz reimagining of the original "Christmas Fairy Tale":

https://michaelherter.bandcamp.com/track/christmas-fairy-tale-fun-magical-romantic-christmas-new-year-orchestral-jazz

At its heart lies the velvet touch of a grand piano, the soulful hum of a double bass, and the gentle whisper of brushed drums. It’s the feeling of a cozy hug by the fireplace, blending sweet nostalgia with pure holiday magic.

This is more than music — it's the soundtrack for your most cherished memories. Press play to unwrap your Christmas fairy tale.

🎼 Key: Es-Dur | Time Signature: 4/4 | Tempo: Varies bpm

► Support my music: https://bnd.link/sibviolin
—
Your support means the world to me and helps me continue creating music. Every like, share, and subscription is deeply appreciated.

🙏 Thank you for listening!

A Fireside Fairy Tale

A work for solo flute and soundtrack. The title consists of synonyms referring to ‘holding on’, alluding to the interaction of the flautist with her flute and also to the soundtrack. The playing techniques frequently rely on the rolling of the flute blowing into the instrument at different angles. The ‘holding on’ can be seen both as a metaphor for a delicate dance, while also trying to keep up with a ‘moving’ soundtrack. It has a concealed, pulse-like character, with pulses mostly scattered throughout the work, making consecutive ones an infrequent occurrence. This absence does not prevent the meticulous following of the soundtrack and its synchronisation. This supports an ongoing goal of the composer working towards a more involved and musical ‘coming-together’ of the electronic and acoustic, without the use of, for example, a click track. The soundtrack thus functions as both an aesthetic
( sound/musical world) and practical artefact (cue provider/machine).
The soundtrack is constructed from a recorded session in which the playing possibilities and extended flute techniques of the flautist Liesl Stoltz, for whom the piece was written, were explored.

The flute was recorded by Stradisphere Music.

Love.Lock.Nestle

HAIKU MUSIC CHALLENGE

Naviarhaiku 606

slightly faint
yet clear
the milky way

Toshio Kiyosaki (1922-1999) was a Japanese haiku poet and scholar of Japanese literature. He published a biography of Kyoshi Takahama in 1966 and co-authored Kyoshi Monogatari, another study on the renowned haiku poet, in 1979.

The Milky Way (amanogawa, or "Heavenly River" in Japanese) is a kigo for Autumn, mainly because that's when the galaxy is most visible in Japan.

Haiku by Toshio Kiyosaki

Picture by Yong Chuan Tan
 

Submission deadline: 20th August 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Gauzy Galaxy (naviarhaiku606)

Voodoo in my veins

HAIKU MUSIC CHALLENGE

Naviarhaiku 608

young grasses -
not yet bent
in any direction

Kaga no Chiyo-jo (1703–1775) was a haiku poet discovered by Kagami Shiko at a very young age. She became a Buddhist nun at 52 and wrote around 1,900 haiku in her lifetime. A highlight of her poetry career was presenting haiku to a Korean delegation in 1763, one of the first cultural exchanges of this kind.

Haiku by Kaga no Chiyo

Picture by Kateryna Viderska

 

Submission deadline: 3rd September 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Nature's odd nature (naviarhaiku608)

No synthesizers were harmed during this production.
A spaghetti western arrangement from 2013.  Featuring the inimitable Jessie Dettwiler on cello & choral vocals.  She's pretty cool.

Demos

Ennio's Ride

The Bird has rhythm

Mid tempo instrumental, world percussion, Asian flutes and plucked strings, synth pads

Asura Rebirth

http://jimlynch22.com

Very fortunate again to be able to collaborate with the immensely talented Nic Evennett.  Her vocals, musical sensitivity and gift for writing profound lyrics make her a true artist to be appreciated.

https://soundcloud.com/wingless-night

One Breath

Just a little roar,
Climbing through the floor,
Just the hollow trains
Crawling through these veins

When there's not much to hold your mind,
You can be sure I will find

Your miracle
Your miracle
Your miracle
Your miracle

Parted lips of cloud,
Beauty unavowed,
Smiled across the blue
For the good of you

We're just one breath from giving in
Exchanging 'is' for 'could have been'

Your miracle . . . 

These twisted branches held within:
The perfect place for birds to sing

One Breath (Classical Glass and Nic Evennett)

A jazzy re-interpretation of Sheila Chandra's "Ancestral Voices" tabla vocalization - an original track from the album "Weaving My Ancestors' Voices (1992)" - Title: "Speaking In Tongues" - arranged and produced by Peter Heckmann featuring the Hawaiian based pianist Richard Schunk jr. All copyright of the original vocal track belongs to Sheila Chandra and Steve Coe. (License granted to Raining Heart Records & Rose Records and Publishing through Harry Fox Agency).

Interpretations

Speaking In Tongues

Speaking In Tongues - Sheila Chandra Reworked (Richard Schunk-piano)

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
------------------------------------------
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.

Asura Rebirth

Jim Lynch

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