Voici 'Le naïf adulte' morceau extrait du 4ème album de M'Z intitulé 'Émancipés du vide ?' sorti le 20 septembre 2024 (28 octobre pour la version numérique) sous le Label - Matziz Records 
Ici joué en live à la Mauvaise Foix (09) lors du concert de soutien au média indépendant Blast, organisé par le collectif La Barraque et l'association Dirt and CPU :
https://youtu.be/uwfqyimvqOA

Lien vers l'album : 
https://matzizrecords.bandcamp.com/album/emancip-s-du-vide
https://music.imusician.pro/a/DgMrDyXS

"Émancipés du vide ?"
Est un album qui mène une réflexion mélancolique sur les gouffres émotionnels que l'humain entretient, sur la difficulté de nous extirper de nos attractions diverses vers le néant, nos incapacités à regarder les déchets mentaux que nous produisons sans passer par la case culpabilité, c'est une critique de la normalisation, du conformisme, du positivisme creux vanté par nos esprits trop marketés et en quête du chemin le plus rapide vers un Sens quel qu'il soit. L'illusion d'être libre dans un monde qui vante des platitudes érigées en valeurs censées incarner cette liberté et pourtant située à vingt mille lieues sous ce que pourrait être un début de chemin vers une liberté effective. Enfin, il symbolise la nécessité vitale de retrouver notre naïveté perdue et de réapprendre à voir le beau et à œuvrer en ce sens.

Le naïf adulte (dernier morceau de l'album)
Traite quant à lui de la volonté de retrouver son état d'enfant, l'émerveillement initial, le fait de faire un reset sur la blase que l'expérience nous a apporté comme un fardeau. Sans perdre l'éveil de ce que nos déceptions nous ont enseigné à raison, mais sans traîner non plus à jamais le boulet émotionnel comme une dette éternelle de nos erreurs liées à nos perceptions juvéniles et alors en travaux. Être en mesure de voir le beau à nouveau, là où il se trouve effectivement, maintenant nous saurons mieux le viser avec justesse, ne plus le perdre de vue, l'honorer, comme l'enfant que nous avons toujours été et que nous resterons à jamais, enfin ne plus lâcher ce cap. La joie est un choix du présent, un acte de résistance à l'empire.

J'espère que le son et l'image vous plairont !

---------------------------------------------
Vous pouvez :
Avoir de mes nouvelles ici 
(vous pouvez vous abonner a ma newsletter) :
https://matzizrecords.bandcamp.com/follow_me

Ou sur mon site :
https://mzprisme.wixsite.com/mz-musique

Écouter ce morceau sur bandcamp : 
https://matzizrecords.bandcamp.com/album/emancip-s-du-vide

et le télécharger gratuitement

Sur Bandcamp : 
https://matzizrecords.bandcamp.com/track/le-na-f-adulte-mz-live-a-la-mofo-concert-de-soutien-a-blast-video-en-description

Sur Soundcloud aussi : 
https://soundcloud.com/mzprisme/le-naif-adulte-mz-live-a-la-mofo-soutien-a-blast-video-en-description-free-download

---------------------------------------------

Il devient de plus en plus difficile d'être musicien indépendant, alors votre aide, si vous aimez cette musique et que vous n'êtes pas encore totalement fauchés, me sera des plus précieuses.
N'hésitez pas à commander mon album ici :
https://matzizrecords.bandcamp.com/album/emancip-s-du-vide

et à me soutenir en achetant ou simplement en écoutant et partageant les albums passés, plus globalement sur mon bandcamp : 
https://matzizrecords.bandcamp.com/

En espérant vous croiser très bientôt dans la vie réelle.

Mathieu TORRES
M'Z
------------------------------------------
Merci beaucoup à Stéphanie Artaud pour la prise de vue.

Le naif adulte - M'Z - Live à la Mofo - Soutien à Blast - VIDEO EN DESCRIPTION - Free Download

the heart of winter
Thanks to Francesco(@francescocartocci ) for the inspiration and for the gorgeous guitar playing.
Our other collaborations:
@soundcloud.com/rosindust/sets/grazie-francesco

initial digital idea (video sketch)
https://youtube.com/shorts/ErjY15S-tYU?si=lupDHa8xz8s_38-c

il cuore dell'inverno  with Francesco Cartocci

Another version of our Dignity song. With Morten's words:

"The wonderful magic of Faithless meets the deeply personal lyrics and brilliant vocals by Heidi K. 

Let the beautiful symbiosis captivate you!"

Morten Jeamland
Executive producer and sound engineer
January 2025

Insomnia songwriters are Maxi Jazz / Sister Bliss / Rollo ℗ 1995

Cover pic by Heidi K

Insomnia & Dignity (Remix) by Jeamland & He1d1 K

My friend JJ Terrell reminded me of Piano Day, so I decided to join in the celebration with two humble piano themes that I dug up from my earlier recordings. Unfortunately, I didn't dedicate enough time to the piano and I regret that.

Two piano miniatures (Piano Day March 29 2025)

Voici une version solo du morceau 'Rosewood'
Aussi disponible sur Bandcamp : https://matzizrecords.bandcamp.com/album/rosewood

Vous trouverez également une version alternative en collaboration avec l'excellent Jörg S ( joerxworx ) au sax que nous sommes très heureux de vous présenter.

Lien vers son profil : https://soundcloud.com/joerxworx
Lien vers la version en collab : https://soundcloud.com/joerxworx/rosewood-2

Impatient d'avoir vos retour ❤

Rosewood - Solo version - (Collaborative alternative version with Jörg S on Sax in description)

Writer : Gerry Goffin \ Composer : Michael Masser \ ISWC : T-802.082.764-0 
Publisher : Prince Street Music - Lauren Wesey Music - Universal Music Publishing
Released : August 13 1985
__________________________________________________________________

While waiting for my next cover... I found this cover from 30 years ago at the bottom of my drawers... I had the voice and the breath!...😊 But that was before! 😄 Now you have to lower it at least a tone or even two.
__________________________________________________________________

I love this song (I'm a Whitney Houston fan); it's thanks to this song that made her famous worldwide. She had a unique tone, a crystal clear voice.
--------------------------------------------------------------------------------------------------------------

Arrangement : Phong
Vocal : Anh
Album : 1995
__________________________________________________________________

Saving All My Love For You - Cover (Whitney Houston)

'Close The Gate' is an 'Alternative Fusion' track consisting of various genres. inspired by the 'Open Border' policy in my country, which is now becoming saturated with some very unsavoury people, most of whom having their own agenda and laws contrary to the Common Law of the indigenous people. 

Sleeping Warriors

Close The Gate

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.

Suite for Woodwinds and Percussion No. 2

My grandfather is very sick and in the hospital. The only way I know how to show I care is to write a song. Ergo, I present: "Coolest Man". A song for Geoff Newton.

Lyrics:

Pour out a glass for my grandfather,
Wise were his days and his eyes were like rays of light,
that stilled,
the time,
away.
Oh, my grandfather is,
the coolest man,
you ever did meet.

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The 
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Oh, yeah.

Composed, performed and mixed by Norsa.

Coolest Man

PHOBOS / Paploviante Open Collaboration Offer
Paploviante: E-Bass, Music, Composing, Arrangement, Mix and Mastering 
BPM 88
Free Download
Feel free to adding something !
If you publish it, you have to mention me in the description and title!

PHOBOS

Il Gigante di Monterosso – Feat: Sergei Govorov
June 2025
Duration: 3:20
Music Composition - Bruce Klepper
Effects and Mixing - John-Marc Ventimiglia 
Cover Art Photography- Heidi Schnicker 
Soprano Sax- Sergei Govorov 

On our recent trip to Italy, one of the places we stayed was Monterosso, one of the 5 villages in Cinque Terre. From our patio, we were able to see Il Gigante looking out over the ocean. I am pleased to announce this new music collaboration, Il Gigante di Monterosso - Feat: Sergei Govorov, celebrating the beauty of Italy.  Listen to Sergei's music on Spotify and Apple Music.
Sergei Govorov completed his doctoral degree at the Gnessin Academy of Music in Moscow with the highest honors.  In 2022, Sergei moved to the United States.  Sergei's repertoire ranges from classical saxophone to avant-garde, jazz, and pop. He has performed over 4,000 concerts worldwide.  For the last year I have been writing music for the sax and piano duo, Govorov & De Groot.  Sergei Govorov and Britta De Groot have performed my music in Colorado and have future plans for more concerts and possible recordings. 

For soprano sax, piano, tubular bells, sound effects and percussion

Il Gigante di Monterosso - Feat. Sergei Govorov (demo)

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.

Suite for Woodwinds and Percussion No. 2

Jim Lynch