When Did I Get Old

still talking

LIFE is bestowed without
Having our consent
Each day is just a FIGHT
Ah, from sunrise to sunset
The cuts go deep
They hurt like hell
All you can do is yell out
And yell...yell LOUD

The only thing for sure in LIFE
Is DEATH...
And when it comes it hurts like hell
It takes guts to live
And even more to die
VIOLENCE is LOUD
And getting louder like a passing motor bike
LOUD , LOUD, LOUD, LOUD

Destiny comes by as fast as life can pass
People take you down the wrong way lane
The present is LOUD
Before we realise
We've gotta catch the present, it's LOUD
Before we realise we've gotta catch it,BE LOUD
 LOUD, LOUD, LOUD,LOUD

LOUD

It's time to take the chance
It's time to stop playing their game
Narcissists they hunt they stalk they kill
Once you've fallen into their trap
Try to escape and run like hell
Good triumphs over EVIL in the end
Be PROUD Be LOUD, Be LOUD
LOUD, LOUD, LOUD, LOUD

LOUD

Loud (Musik Overdrive feat Chris Hardisty guitar)

It is to be noted that the music and melody starting at 2:25 and ending at 3:00 was written by Liam Sternberg and originally performed by The Bangles, and is from the song Walk Like An Egyptian, with new lyrics written by Ultrasonic Pest Repellent.


Lyrics:

Some people say I act like a zombie
Cause I remember stupid memes like Harambe
Come on, Acting really cool like you wanna be
The only thing I’m good at is nothing

Good at doing nothing
Good at doing nothing
Good at doing nothing
Good at doing nothing

Living off the smokes that I’m bumming
You call me up, and I say that I’m coming
But I’m actually just laying down sleeping
When the neighbours are fucking, I’ll go Tom-peeping

Good at doing nothing
Good at doing nothing
Good at doing nothing
Good at doing nothing

Got a broken nose, the scatman goes a-skibbity-doop doopity boppity bop
Listen to the tune, oh eh oh, you bust it out to the hippity hop
Arnold Swartzenegger was so cool before he was into politics
If you think this sucks, oh eh oh, pull down my pants, give me anal licks

Homeless guys with their fentanyl pipes, eh oh, eh oh, oh eh, oh oh, eh oh

Dying from the addiction

Good At Doing Nothing

We may not have traveled far and wide,  but Keith has a way of transporting us all over the world through his curious mind and love of history. So, why are we in Italy? Simply put, Keith loves Vespas ;)  Actually, he loves the idea of the band touring Italy on Vespas, funky hipster wheels and recording tunes as we go.  The "Sock Puppets" was a theme Keith developed as he created some videos depicting travels with the WAG puppets.
Vesari Corridor is one adventure from the Album Keith wanted to develop, found here: https://www.terrywigmore.com/wigmore-allen-gibbons
Join Keith, Kevin, and I as we travel around Italy, taking in some famous landmarks and enjoying a lot of Kevin's favourite red wines.

Lyrics:
Vasari Corridor

Da,da,da,da,dah…… Da,da,da,da,dah……(nonchalantly strolling along, minding own business:)
Down the corridor …of Vasari.

I found a secret place…somewhere safe for us to go
No prying eyes in this narrow space…a hidden alley that I know
Down the corridor…of Vasari

Da, da, dah, da, da, dah …he’s waiting.  
Da, da, dah, da, da, dah …he’s waiting

We are not allowed in here… (Do-do-do-do) If we’re careful, we’ll be fine
Avoid the blade, avoid the fear… (Do- do-do-do) and we will live till next time
Down the corridor…of Vasari

If there was a way to avoid this…hiding and subterfuge
(Down the corridor…of Vasari)
I found a secret place, somewhere safe for us to go…
(Down the corridor…down the corridor…of Vasari)
Somewhere safe for us to go…go…go…go…

(The chase commences…)

Stab him in the back…He’s never going back!
He’s Medici…He’s Medici   (repeats)

Wigmore: synths, production
Allen: Lyrics, Vocals, Guitars, Bass
Gibbons: Lyrics, Vocals

Vesari Corridor (He's Medici)

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-2

A musical page that evokes the spirit of great Impressionist masters like Ravel and Debussy. Let the soft melodies and enveloping harmonies transport you to ethereal landscapes, full of color and emotion.

Nuages

Sérénité No. 02
Artwork: AI Image Generator (free, no sign-up, unlimited) ― Perchance License: Public Domain.

Sérénité

Sérénité No. 02

This recording follows one of four entire Sessions from May 2024 @ 'The Living Room' in Victoria, B.C. Canada.

We used just 1 ZOOM Stereo Microphone to capture the total sound of Piano and Guitar vibrating in the room. Therefore no direct mic -ing of each instrument in other words.

Sections of this have been released before - but i felt that some of you may really appreciate Listening to how our improvisational conversation developed from start to finish.

May you Relax, Unwind and enJOY!

© Gary Courtland-Miles & Tim Elliot 2024
℗ Gary Courtland-Miles & Tim Elliot 2024

Mixed by Anomon

How it Flows  * Anomon & Elliot LIVE!

Evening Mood

Live Performance of Angelique Poteat's Quartet of Trees by the Formosa Quartet on November 9, 2025 at the Concert Hall at the Western Washington University Performing Arts Center, Bellingham WA

IV. Foothill Foray

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-2

Jim Lynch