Recorded in Modesto, Ca.  Featuring Gibson 335 Electric Guitar solo. Steinway Acoustic Piano Background. Harp Background. Bowed Acoustic Bass. String Quartet Chamber. Cello. 1st & 2nd Violins. Chamber music strings. Percussion Trap drum set. Congas. Djembe & Tablas.

Lighthouse

Reaction

Rien de Bien

Golden Dance

100 Sticks of Time

Now is the Cool of the Day

Another 'getting away from it all' experimental trip. 

Beyond The Spiral Arm

(Dragging My Butt) Into The Sunshine

i’m already 
goin’ down
to the end of the story now
wind is blowing
to the end of the story now

come away   come away

time is bending 
drifting down
spin the hourglass all around
pulverize it
spin the hourglass all around

i’m comin’ after 
i’m comin’
i’m unembodied
i’m free

i’m already 
leaving town
train is rounding the mountain now
got my ticket
train is rounding the mountain now

come away   come away
---------------------------------------------------------------------------

image from Malcom Shadrach via Unsplash


Quietus

Here's the second half of the Improv that spawned 'A Tune For June'.

In any case, dear Listeners... i hope you'll enJoy its flow.


The Photo is from the amazing May '2025 SHENZHENG Drone Exhibition' and took place in the skies over Shenzheng, China. Each point of light in the night sky is a lighted 'drone'.  

Here's a short Video from the 2024 show.  https://www.youtube.com/shorts/G6KDeYJri_Y

Another Tune for June

“DJ AZARII – Hangdrive” — это гипнотичный трек, в котором живой звук ханга переплетается с глубокими ритмами. Мистическая атмосфера, этнические вибрации и мощный драйв делают трек идеальным для ночных сетов, фестивалей и глубоких танцевальных путешествий.
“Hangdrive” от DJ AZARII — это кинематографичный поп-гимн о расставании, пропитанный ретро-синтезаторами, трэп-битами и гиперпоп-энергией. Трек сочетает эмоциональную уязвимость с дерзкой цифровой эстетикой, идеально подходящей для ночных прокруток и драматичных TikTok-рефлексий. Представьте себе смесь Cruel Summer и Blank Space, но с более мрачным, синтезаторным оттенком — саундтрек для тех, кто плачет в машине под собственный плейлист.

“DJ AZARII – Hangdrive” is a hypnotic track that fuses the live sound of the hang with deep rhythms. The mystical atmosphere, ethnic vibes and powerful drive make the track perfect for late-night sets, festivals and deep dance journeys.
“Hangdrive” by DJ AZARII is a cinematic breakup pop anthem, drenched in retro synths, trap beats and hyperpop energy. The track combines emotional vulnerability with a bold digital aesthetic, perfect for late-night scrolling and dramatic TikTok reflections. Imagine a mix of Cruel Summer and Blank Space, but with a darker, synthier edge – a soundtrack for those crying in the car to their own playlist.

Hangdrive

Tranga

La peur dont tu feins de ne pas voir speed up

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