Freedom Horse

Into Oblivion

هَارُوْت وَمَارُوْت
the fallen angels
produced & performed by guillaume & naldo

cover art by naldo with firefly

Les Anges Déchus

still talking

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)

Spread the " Love " Its a beautiful day and the sun is shining. 
Johnny

Written, performed and mastered by Johnny Mc Farlane

Love

This is a re-mix of the original we did years ago . Jeff Roberts who created it from my basic acoustic idea wanted to remix and get it out on Spotify under the name of The Bird Thieves . 
Jeff was the first artist I ever collaborated with on Soundcloud and I will always be grateful to him for giving me the opportunity and believing in my raw ideas. 
Since then I’ve have worked with many great talented musicians from Soundcloud . The Conscience Of Kings project with Noobly simply transformed me and my love for being creative all over again. 
Thank you to everyone I have worked with and everyone I have engaged with on this platform.
Enjoy this tune all over again and a massive thanks to a Soundcloud legend that is Jeff Roberts. 
Spotify link : https://open.spotify.com/track/46zHcDFbLSZIPWtFb18Ttf?si=bZFoDWzhQbu4DCKO2K6Hcw


Our Carpe Diem 


Candy to my eyes 
Sweet poison in my heart 
We were electric together 
But safer miles apart
In wild times we were living
And you always made me laugh
When you Dancing on the tables
And falling over in the dark

If your gonna judge us
You better be perfect 
And if you’ve got something say
It better be worth it
we lived for the moment x2
I’m our very own Carpe Diem 


Caught a train to London 
In hindsight shouldn’t of went
We stayed out 48 hours
And drank next months rent
Beautiful minds equal beautiful times
it was never gonna last
But what an absolute blast

Chorus with a times 4 

Outro

Ohhhh Darcey 
With lived for the moment x4

Our Carpe Diem Remix 2024 The Bird Thieves

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

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!

Dreams of Better Times

Space Funk

My vocals to the original track by "Smokie"

AJPK Tribute to "Living Next Door To Alice" by "Smokie"

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