Name: No Fear No Harm by Jim Lynch
Duration: 5 min 33 s
Description: Soundscapes inspired by Tara, a revered Bodhisattva in Buddhism, often referred to as the "Mother of Liberation." She is known for her compassion and her ability to swiftly respond to the prayers and needs of sentient beings.

Just crusin...  but there is a bit of underlying creepyness there too...  so...  jajaja..

It was initially called screaming birds as a result of all the dead and dying birds in the area from avian flu. It’s a nice summer, rhythmic vibe with screaming angst in the background and then I found the artwork of a track I decided not to use and so it is now called Colliding Particles.

Colliding Particles

sample for diz'

the lake

Soundscapes inspired by Tara, a revered Bodhisattva in Buddhism, often referred to as the "Mother of Liberation." She is known for her compassion and her ability to swiftly respond to the prayers and needs of sentient beings.

Visions of Tara

No Fear No Harm

Break neck speed to this track. Sound barriers in this life are meant to be broken.

Fast Life (New Version)

136BPM GMinor 21 SAVAGE TYPE BEAT

🔥🔥🔥🎸🥁😈🎶💥🤘🏻⁂©All Rights Reserved 02-2025
©Mixing, Mastering & Creator: Lady ElectroTrek
***This track is protected by 🎶🌎🌍🌏Page Defender/'
https://distrokid.com/hyperfollow/electrotrek/acdcs-rising-low-baller

Strung From Heaven To Hell

AC⚡DC's Rising Low Baller

AC⚡ DC's Rising Low Baller

Skyscapes 2

Ambient Aura 1 is the first compilation of ambient music from or label Aeon Records. Featuring a variety of artists and styles.

Free Download

The Burning Heart

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Horror From Beyond The Grave

Premature Maybe

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.

No Fear No Harm

Jim Lynch

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