recorded at home on my 8 track

here's the lyrics for folks that like to read along. Cheers for all the love and inspiration fellow soundclouders.

I'm getting sick and I'm getting tired
morning smog filled up my lungs
has swollen my desires
but don't go pointing no pistol in my face
I'm going to mess you up and
put you in your place
gonna put you in your place

you're getting ferile I'm getting wired
the magazine was loaded and
uncertain shots were fired
but don't go blowing no smoke ring 
in my face
I'm going to mess you up and
put you in your place
gonna put you in your place

where the children go, nobody looks 
nobody knows
place where the children go
when they have got no fixed abode
place where the children go
where nobodies gonna miss them
when the go
don't miss them when they go

batten down my hatches
I'll seal you to your fate
boil you up for breakfast
then pour you on my plate

but don't go pulling no hood over my face
you've lost when I have won the race
I've put you in your place


something like that, cheers for listening and reading, if you got that far👍


In Your Place

Transmission III

Grains

Contemporary Classical work for String Quartet, Winds, and Percussion.

Suite for Chamber Ensemble 2021 No 1

Suite for Chamber Ensemble 2021 No 1 part 2

More by Jim Lynch

Suite For Chamber Ensemble 2021 No 1 Part 2

NightDrive

atmospheric bottom

Tribal Calling

After almost 3 years, we had a playdate and this is some of what happened...

Richard Carr - violin
Chris Lane - guitar
Joakim Lartey - percussion, documentation and treatments

Hope u enjoy as much as we did.

Facing East [Chris Lane_Richard Carr_Joakim Lartey]

Kelsea’s Garden

It's amazing what comes into your head as you sit by the beach. This has turned out to be a dark waltz.  Unashamedly folk dressed up to go out for the evening. Keeping it low and slow.

A pinch of Cohen, a sneer of Bowie and a smattering of Cave... lets see what the world thinks.




Ripples

The Sky is rippling, beneath a dark sea
It laps on a shore that’s just out of reach
The clouds are sinking, as the red sun floats free
The sky is rippling, as it drowns me.

You looked out to sea, to horizons fall
Avoiding my eyes as you explained it all,
Stepping past cliches, you cut straight to the bone
Why give away lies, when there’s your own truth to own

You told how it felt, to be you with me
Unchallenged, alone, watching those others be free
And the trinkets I buy you and the words I pledge
Just make you feel hollow so it must end.

The Sky is rippling, beneath a dark sea
It laps on a shore that’s just out of reach
The clouds are sinking, as the red sun floats free
The sky is rippling, as it drowns me.

Without Power to the turn words back 
Asked you not to say more
but you were the tide
and I, a fool on the shore.

You spoke of beginnings how they must lead to ends,
You told me of couples who still stayed friends
No tear in your eye, just the hint of a frown
As your words broke around me,
turned my world upside down.

The Sky is rippling, beneath a dark sea
It laps on a shore that’s just out of reach
The clouds are sinking, as the red sun floats free
The sky is rippling, as it drowns me.

Ripples

Unknown Horizons

please also check my YouTube Channel:
https://youtu.be/9mTdMVL6jVY

===============
街の灯 / city lights
===============

その美しい曲線は　夜陰にまぎれて
照らすもののない隙間から　こっちを視ている

あたかも本当の風に　吹かれてるようだ
抜け道のはるか向こうへ　翔べるなら　堕ちるなんて遊び



背を向けられた路地裏は　一見静かで
照らすもののない街灯は　青白くなった

歩き去るならあまりにも　都合のよすぎる
抜け道のはるか向こうへ　夜の岸辺の　散歩でも



打ち棄てられた言の葉は　一見無口で
照らすもののない存在なんて　考えたくもない

あたかも本当の君を　視ているみたいだ
堕ちた砂粒の軌跡　その光を　見逃してしまった



その美しい曲線は　夜陰にまぎれて
照らすもののない空間で　夜明けを待ってる

あたかも本当の君に　触れているようだ
抜け道のはるか向こうへ　翔べるなら　堕ちるなんて遊び

concave & convex

街の灯 / city lights

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.