Inspired by the Japanese Yokai myths. Tanuki is one of the many characters in these myths, one of the less threatening ones. Tanuki possesses powerful magical abilities with a superb ability to change shape. He has a jovial nature, and delights in playing tricks on humans. Sometimes he uses his shape-shifting powers to transform into stones, trees, statues, and even ordinary household items in order to play tricks on people. Other times, He might even transform into a giant or horrible monster, either to terrorize humans for pleasure, or else to scare them away from places they shouldn’t be.

Tanuki Drank Too Much Sake

Tanuki Sees Crows on His Tree

Bandcamp

Tanuki Sees Crows On His Tree

Grooveclowd is a Band from Australia. Kimberley Galpin Keys/Synths Mixing, Nathan Good Keys/Bass and Vocals and Eleyan Di Palma Vocals Keys/Synths / Venus Abalero Guitars/ Bass Mixing-- Grooveclowd wanders in and out of Genres.Trax avaiable for
purchase on Bandcamp.  Now Trax available on Spotify Deezer and Apple 
Grooveclowd uses Magix.
Grooveclowd email grooveclowd@gmail.com
Facebook page Grooveclowd

Musique concrète + Field recording + Experimental + Analog Synth.
Full discography on:
https://stephono-zip.bandcamp.com/

Please no offers for more followers, listeners or other advertising. I don't pay for advertising!

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
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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.

Love for making music & exploring sound. Enjoy electronic/synth classical experimental instrumental sounds. Influenced by The Fourth Dimension, Pink Floyd, Massive attack, Bowie, Leftfield, Orbital, Sasha, Bjork, DJ Shadow, Air, Daft Punk, Prodigy, Mike Oldfield, Rush, Tangerine Dream, John Williams, Eric Clapton, Clint Mansell, Vangelis, Alan Howarth, Ennio Morricone and loads more. 

I work mostly with Ableton and software and hardware synths, modular and experimental gear. I also like to mix on vinyl and on a digital setup

Could describe my sound as a blend of experimental, progressive, ambient electronica, soundtrack, breaks, film music, blues, deep  and melancholy. I spend my time expanding my sound, collecting new sounds with a field mic most places I go and working on new sounds, collabs/remixes and experimenting with film and visuals and the do a very rare live set

All these tracks are composed, or orchestrated by me, (self taught non-professional)All rights are  reserved. I used Finale 25, with Garritan Sound.
The pictures  are painted by me or made by AI Canva.  If You are interested in the scores, please write me!

Pete Swinton is a half Hungarian, half Polish man born in London, UK in 1961. Between 1988 and 2003 he lived in Portugal. Since 2015 he lives in Jawa, Indonesia. He began playing guitar in the '70s. He started playing keyboards in the 2000s. He makes Ambient and Experimental music. And a cross between the 2 which he calls Insanbient music. He was using the name Srigala but has now stopped. (To hear the music as accurately as it was recorded and mixed the use of headphones is strongly recommended)

Support channel of https://soundcloud.com/puppetxeno
if you only subscribe to the support channel, you missed a spot!

Reposting music with meaning, or at least the stuff that resonates with me in a broader sense.

Check out the PLAYLISTS - reposted tracks combined by associative styles and genres.

Thanks all for following/subscribing thusfar, it is much appreciated. Anyone with a YouTube channel for their music (labeled 'official' or not) please subscribe to my channel to help it grow (it will be reciprocated, of course) and give me an incentive to produce more music videos.

All in all:

THANK YOU so much!

Tanuki Sees Crows On His Tree

Jim Lynch