100 Sticks of Time

Now is the Cool of the Day

Magical Lynx

Sun Rise

Redemption Train

Sensations

Vidéo : youtu.be/z-aae0BK5p8

Brande (Translated after the French text )

Texte : Sanzen
Chant : Desdanova ( @denis-rousseau-182743563 )
Musique : Alain Illos

Sans un bruit, ce matin,
une rose est éclose.
Perdue en ce jardin
où mon coeur agonise.
Au milieu de hautes herbes,
c'est elle survivante.
Soudain dans l'air vibrant,
mes souvenirs voltigent.
Dans la chaude lumière,
de cette beauté naissante;
perdues dans ma mémoire,
de sinistres images...
Sans un bruit ce matin,
mon coeur s'est lavé.
Perdu en ce jardin,
dans la chaude lumière.
Au milieu de mes souvenirs
qui voltigent.
Des hautes herbes
et d'un été naissant.
C'est ma joie survivante,
sur la brande, ce matin.
Aux vies agonisantes,
à la beauté naissante.
Aux images oubliées,
soudain, dans l'air vibrant.

Brande
Without a sound, this morning,
a rose bloomed.
Lost in this garden
where my heart agonizes.
In the midst of tall grasses,
is the surviving rose.
Suddenly, in the vibrant air,
my memories flutter.
In the warm light,
of this emerging beauty;
lost in my memory,
of sinister images...
Without a sound this morning,
my heart washed.
Lost in this garden,
in the warm light.
In the midst of my fluttering memories
.
Tall grasses
and a budding summer.
This is my surviving joy,
on the heather this morning.
To dying lives,
to emerging beauty.
To forgotten images,
suddenly, in the vibrant air.


Brande avec Desdanova

What a damned shame that after some six million years of human evolution, two and a half thousand years of democracy and eight centuries of habeas corpus, we look about us and see most of the planet ruled by thugs.  Wherever you turn, oppressive regimes hiding behind the tattered sacks of the shattered fragments of their failed, preposterous, sham ideologies assault the fundamentals of basic human liberty while the world stands and watches.  Not just the real pro’s - the arch criminal nepotistic despots of China, Russia and North Korea but most of the basket case that is Africa and great swathes of South America, Asia, Eastern Europe and the Middle East.

And England.

Lucy Connolly is a political prisoner.  Victim of the corrupt filth now running the smouldering ashes of what used to be a democratic place called England.  As the odious, grasping, duplicitous, fraudulent crook Keir Starmer coddles his twisted, immoral coterie he spits on the scales of justice to suit his imbalanced, misguided, destructive, lunatic cravings.

I make no apologies for reposting this protest against vicious human rights injustice, but I hang my head in shame that here it shines a light on the judicial farce that the country I love, has now become.

If you are unaware of this travesty, look here:

https://www.telegraph.co.uk/news/2025/05/21/lucy-connolly-sentence-rapists-paedophiles-terror/
___________________________________________________________________________________

Penny for Your Thoughts

A penny for your thoughts my friend, as the shades befall our eyes.
A penny for your thoughts my friend, our last sunrise sanctified.
Can your heart excuse the scoundrels that crucified our pride?
Has your spirit taken refuge where false memories reside?
A penny for your thoughts my friend, as we kiss our last goodbye.

A penny for your thoughts my friend, on ideologies of dross,
A penny for your thoughts my friend, on their terminal human cost.
As the pearls of timebound sacred truth are slowly crushed to dust 
By rotten teeth of twisted swine that stole our naive trust.
A penny for your thoughts my friend, on the cause that we have lost.

A penny for your thoughts my friend, try to block their screams of pain.
A penny for your thoughts my friend, soon be our turn again.
Confessional lies drawn out by the inquisitor’s electric wires
Aided and abetted by his friends, the long-nosed pliers.
A penny for your thoughts my friend, on this democratic stain.

Dreams of putting wrongs to right from umbrella crowds of truth,
Aspiring to freedom’s voice for tomorrow’s happy youth,
When the path strewn with hope’s flowers was the way that they would choose,
Recall those gleaming spectral nights when light breezed through our minds
A penny for your thoughts my friend, were we blind to the defiled?

A penny for your thoughts my friend, shall we pass this way again?
A penny for your thoughts my friend, now we’ve nothing to defend.
Will the ages tell of heroes lying butchered for the cause?
Or will state history be rewritten by false hearted troubadours?
A penny for your thoughts my friend, as we look back to the end.

Lucy Connolly

This is an old traditional Malagasy song,
we did for you 

Kitana on vocals 
Rina on piano

Mifankatiava ihany
Raha mbola velona aina
Tsy misy toy izany ny mampifaly saina

Ny maty efa lasa
Tsy azontsika antsoina
Isika no mikasa
Ny ratsy hadinoina re

Ny maty efa lasa
Tsy azontsika antsoina
Isika no mikasa
Ny ratsy hadinoina

Koa raha tsy fotoana ela
No hipetrahana eto
Andeha re
Andeha re mba hifamela
Andeha hifamela mba tsy harahin-tsento
Mba tsy harahin-tsento
Andeha re(Andeha re)
Mba hifamela
Mba tsy arahin-tsento

tranlation:
Let’s love one another
While we are still alive
There’s nothing more joyful than that for the soul

The dead are already gone
We can no longer call them back
It’s up to us now
To let go of the wrongs

The dead are already gone
We can no longer call them back
It’s up to us now
To let go of the wrongs

So if our time here
Is not for long
Let us go
Let us go and forgive each other
Let us forgive, so no sorrow remains
So no sorrow remains
Let us go (Let us go)
To forgive
So sorrow won’t follow

Cover Solika - Mifankatiava ihany | by Kitana and Rina

🌌 MEET ME IN ETERNITY 🌌

An odyssey beyond time, crafted by SYNTHTOPIA x QVANTVM

This album is a deep, cinematic journey through the cosmos — a meditation on infinity, light, and the eternal resonance of existence. Built from evolving synth pads, warm analog textures, and ethereal orchestral layers, each piece unfolds like a star-born hymn: expansive, transportive, and timeless.

From the shimmering stillness of THE QUIET BETWEEN THE SUNS to the soaring radiance of FIELDS OF STARLIGHT and the transcendental call of ARC OF INFINITY, this is music designed to dissolve boundaries between the human spirit and the infinite universe.

These soundscapes invite higher consciousness, deep reflection, and a sense of home among the stars. It is not just an album — it is a gateway.

✨ Enter the cosmos. Meet me in eternity. ✨

ARC OF INFINITY

Yaroslav Tretiak - Draws You

Buy/Stream: streamlink.baijanrecords.com/bjn473

Listen on Youtube: https://youtu.be/TMkKzlT3yBE

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#baijanrecords #yaroslavtretiak #drawsyou #deephouse #deephouse2025 #summervibes #newrelease #goodvibes #feelgood #electronicmusicvibes


Draws You

Buy/Stream

Yaroslav Tretiak - Draws You

why stop now?

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.

Now is the Cool of the Day

Jim Lynch

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