Indie rock with a 80’s/90’s vibe …

Start (How did you know ) written Oct 2023 

I’ll start from the beginning 
I was surrounded by love 
And it all became too much 
When I Stood on the cusp 
Of adulthood 
I can see it was never enough 

You had no support but you still remained
The most positive person I’ve ever seen constrained 

How did you know 
I’d hide if love took control
How did you know 
It would all take it’s toll 

You stopped me in my tracks 
I had never felt such a force 
It told me I should reason 
With my darkest thoughts 
Because in the light 
Is where life is taught 

You had no support but you still remained
The most innocent person I’ve seen restrained  
 
How did you know 
I’d hide if love takes control
How did you know 
It would all take it’s toll

Start

grand nothings 1

A rather spontanious track with some improvising and noodling based on a quirky sequence made with the Odyssey, synced to the moog sound studio. Please enjoy!

14.05.2024
AI generated image...

will work for peace

Miasma

Work for philharmonic orchestra in three movements.

"The moon's my constant mistress,
And the lonely owl my marrow;
The flaming drake and the night crow make
Me music to my sorrow."

 - from an anonymous folk song called "Tom O'Bedlam"

Orchestral Suite 2024 No. 1

Orchestral Suite 2024 No. 1 mvt-1

Cast of characters:
Well-- @user-370942421-686440500 – Hakan – synth, beat, and seed idea
Surfers Like Us– @user-411502040 –Artur– guitar
Llanpsych– @llanpsych –Tez– guitar, mix and production 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –five-string fretless bass guitar, synth

This song began with Artur inviting Josh onto a project that he and Hakan had just started that consisted of the beat and a synth line—the one that opens the song—supplied by Hakan. Josh added his five string fretless bass to it first, coming up with an idea of how it could sound. Then, Josh asked Tez to get in on it, too, because Tez not only has an affinity for the genre, but an aptitude for it, as well. After Tez laid down his hot guitar, Josh went back and played his idea, but accounted for Tez's jamming, too, this time. After the basic tracks were done, Artur brought his vibrato/delay guitar magic to the jam, too. Then, Josh added the various synth voices that you hear throughout. ​
  Every great song needs a great producer, and Tez was the man for this job. He brought it all together and used our various parts like a conductor uses different parts of a symphony. This is the fist song that Tez and Josh have done with Hakan. Artur and he are musical partners, so if you dig this song, you would probably like what's on their pages, too. We hope you enjoy listening to this as much as we enjoyed making it.

Ghost Train - with Well, Surfers Like Us and Entheogenic Psychonaught (Josh Clary)

Golden Barrel Cactus

This is a favorite song of a friend of mine, so thought I'd do this for him. we had a conversation about the way it ended and my thought is that the one that was being left behind asked for Boots, as a way of saying "These boots are made for walking' because its quite obvious the one who is leaving isn't going to miss the one she or he, is saying basically 'good bye ' Anyway this is my humble version of this song and I thank you for the listen and any comment if you choose to leave one. Ya'll take care of one another and yourself .

Spanish Boots of Spanish Leather -Dylan Cover - 6:27:24, 12.51 AM

INTERIOR  X1  -   2024

Mysteries Under The Southern Cross

Enfantines n°5 ( l'image représente une sculpture de Giuseppe Penone, un des maîtres du landart). La sculpture  est taillée dans l'arbre même que l'on voit, qui continue ainsi à pousser en elle, avec la branche par dessus sa tête. On peut la voir au Domaine d'art contemporain de Kerguehennec ( Sud Bretagne, France)

dialogue d'un arbre et d'un ange

Experience the rhythmic pulse of **Spring Movement Suit**, a vibrant collection of over 30 tracks curated by Century One Records. This is more than just an album; it’s an auditory journey designed to awaken the senses and stir the soul. Each piece has been hand-picked to inspire and energize, creating a seamless flow of sound that captures the essence of renewal and creativity.

Perfect for any **music lover**, Spring Movement Suit offers a diverse range of genres and moods, all unified by a powerful and uplifting spirit. Whether you’re seeking a new soundtrack for your daily routine or a wellspring of inspiration, this record is a testament to the universal language of music.

Sping movement 4

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.

Orchestral Suite 2024 No. 1 mvt-1

Jim Lynch