Psychedelia | Music by Martin Reed | Music & Lyrics by REKHA IYERN FE

Psychedelia - Music by Martin Reed

Listen to the amazing music of Rekha Here https://soundcloud.com/rekha-iyern-fe 

Psychedelia - Music & Lyrics by REKHA IYERN FE


Here is the Official Video :) https://youtu.be/lqtrRmZeSYA

Intro:
Oh-Oo
Wo-Oo-Oh
Ah...

Beautiful kaleidoscope
Suddenly appears before me
In front of my eyes
In my head
Beautiful Kaleidoscope

Of colour
Bold, bright and blue
Oh, so good

I'm floating
I, I am
In the sky
So high above I go
In my psychedelia
Oh, Yeah-Yeah
Hey, Eh-Eh

Purple, Red and Blue
Colours so pure, so pure
I'm goin' outta my head
Pleasantly I escape

To what's comin'
What's comin' ahead
In the clouds
In the misty light

Wo-Oo-Wo
Wo-Oo-Wo-Ho
Oh-Oh-Oh
Oh-Oh-Oh-Oh
Yeah-Yeah
Beautiful psychedelia
Hmn, the colours
Of the rays
Ah-Huh, Oh-Ooh, Oh-Ho

Cover Art Design: Photo & Graphics by REKHA IYERN FE

Music by Martin Reed in the UK
Music/Vocals Mixed & Mastered by REKHA IYERN FE RECORDS IN CANADA

Psychedelia M1 Basic AIFF REKHA IYERN FE -1.1db

Released by:
REKHA IYERN FE RECORDS CANADA & MARTIN REED
P-line:
℗ REKHA IYERN FE RECORDS CANADA/REKHA SONG PUBLISHING & MARTIN REED
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Psychedelia | Music by Martin Reed | Music & Lyrics by REKHA IYERN [Fe] | Psychedelic ROCK

wind-bell

Contemporary Classical work String Quartet, Winds, and Brass.

Suite for Chamber Ensemble 2021 No 1

Suite for Chamber Ensemble 2021 No 1 part 1

More by Jim Lynch

Suite For Chamber Ensemble 2021 No 1 Part 1

dragon

Nexzt Orbit

Thanks to everyone who listened to this track
If only messages were always sent from unknown territory. 
Have you received it yet? 
I'm sure you'll have an important send.
 Listen carefully.

Signal from a Dream

little experimental jam with my Akai EWI, which triggers two synths: Respiro by Imoxplus and Labs by Spitfire Audio. The point was to experience the different responsiveness of the solo voice (Respiro), versus the strings (Labs) It was fun to blow this in one go ! photo by vietnguyenbu (Văn Long Bùi)on pixabay. Enjoy !

halo

Roberto B (@user-55822457) and I now present track 12, "Egeia", in our album in progress "Midnight Coffee". We hope you'll enjoy it.

Created in collaboration on 1 July and 1 September 2021 (initial and final mix and recording, respectively, in MAGIX by Roberto B), and 29, 30 and 31 August (intermediate additions, mix and recording in GarageBand and Logic Pro X by Alex M), and posted here on SoundCloud on 3 September 2021 (by Alex M). The used sound effects come from Alex M's own sample - Gentle Early Morning Sea Waves (recorded on 26 August 2021, on the beach in Kariani, Aegean Sea coast, north Greece).

The artwork cover is designed and implemented by Alex M on 29 June 2021 (in Tayasui Sketch in Mac OS), and cropped and annotated by Alex M (in Mac OS Preview) on 30 June 2021.

Thank you so much, Roberto - for the beautiful musical ideas and our collaborations!

Duration: 7:40 minutes

Egeia - Roberto B & Alex M

Avi Loeb is no stranger to controversy. The prolific Harvard University astrophysicist has produced pioneering and provocative research on black holes, gamma-ray bursts, the early universe and other standard topics of his field. But for more than a decade he has also courted a more contentious subject—namely, space aliens, including how to find them. Until relatively recently, Loeb’s most high-profile work in that regard was his involvement with Breakthrough Starshot, a project funded by Silicon Valley billionaire Yuri Milner to send laser-boosted, gossamer-thin mirrorlike spacecraft called “light sails” on high-speed voyages to nearby stars. All that began to change in late 2017, however, when astronomers around the world scrambled to study an enigmatic interstellar visitor—the first ever seen—that briefly came within range of their telescopes.

The object’s discoverers dubbed it ‘Oumuamua—a Hawaiian term that roughly translates to “scout.” The unavoidably cursory examinations of this celestial passerby showed it had several properties that defied easy natural explanation. ‘Oumuamua’s apparent shape—which was like a 100-meter-long cigar or pancake—did not closely resemble any known asteroid or comet. Neither did its brightness, which revealed ‘Oumuamua was at least 10 times more reflective than one of our solar system’s typical space rocks—shiny enough to suggest the gleam of burnished metal. Most strangely, as it zoomed off after swooping by the sun, the object sped up faster than could be explained by our star’s waning gravitational grip alone. Run-of-the-mill comets can exhibit similar accelerations because of the rocketlike effect of evaporating gases jetting from their sunlight-warmed icy surfaces. But no signs of such jets were seen around ‘Oumuamua.

To Loeb, the most plausible explanation was as obvious as it was sensational: taken together with its possibly pancakelike shape and high reflectivity, ‘Oumuamua’s anomalous acceleration made perfect sense if the object was in fact a light sail—perhaps a derelict from some long-expired galactic culture. Primed by years spent pondering how we might someday find evidence of cosmic civilizations in the sky’s depths, he became increasingly convinced that, with ‘Oumuamua, the evidence had instead found us. In late 2018 Loeb and his co-author Shmuel Bialy, a Harvard postdoctoral fellow, published a paper in the Astrophysical Journal Letters arguing that ‘Oumuamua had been nothing less than humanity’s first contact with an artifact of extraterrestrial intelligence.

The paper has been a smash hit with journalists but has fallen flat with most of Loeb’s astrobiology-focused peers, who insist that, while strange, ‘Oumuamua’s properties still place it well within the realm of natural phenomena. To claim otherwise, Loeb’s critics say, is cavalier at best and destructive at worst for the long struggle to remove the stigma of credulous UFO and alien-abduction reports from what should unquestionably be a legitimate field of scientific inquiry.

The observations suggest this unusual object had been wandering through the Milky Way, unattached to any star system, for hundreds of millions of years before its chance encounter with our star system.

“For decades we’ve theorized that such interstellar objects are out there, and now―for the first time―we have direct evidence they exist,” said Thomas Zurbuchen, associate administrator for NASA’s Science Mission Directorate in Washington, in November 2017.

Immediately after its discovery, telescopes around the world, including ESO’s Very Large Telescope in Chile, were called into action to measure the object’s orbit, brightness and color. Urgency for viewing from ground-based telescopes was vital to get the best data.

Oumuamua (First Contact Album Version)

Album (2018) : "Révérence, études tenuto & marcato"
* En écoute sur : vincentthomasrey.com/

(© All rights reserved - Blockchain Bitcoin technology)

- Arabesques Célestes (Étude I)
- Le Jardin Des Muses (Étude II)
- Invierto & Invitero (Étude III)
- Ibis Rouge (Étude IV)
- L'Épreuve Du Temps (Étude V)
- Soleil D'Hiver (Étude VI)
- Les Rameaux De L'Espoir (Étude VII)

Études pour piano & danse classique (Tenuto & Marcato).

Pochette : Vincent Thomas Rey

Révérence

original music, Native American style flute, cello, clarinet

After Two Years of Hiding, the Shy Feral She-Cat Allowed This Good-Hearted Man to Touch Her

This is a musical invitation to look at beauty of Ethiopia.  to use other eyes from what is in the news of  disasters.

You may know about Ethiopia because of war, draught etc.  it is also a very beautiful country with quite a  long history and extraordinary culture that goes back to Pharaonic times.  The only African country that was not  colonized.

Vocals:  Mark Bennett, Oorlab, and Dan Lockhart
Guitar and drums:  Oorlab.
All other sounds:  Dan Lockhart
Editing and mixing:  Oorlab

You can find the music of Oorlab here:  
https://soundcloud.com/oorlab

You can find the music of Mark Bennett here:
https://soundcloud.com/markjbennett

See the video here:
youtu.be/EaoypuqwMcI

Ethiopia with Mark Bennett and Oorlab

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.