Locked In

Production by Hennedy & NTHNL
Album: REMains

Check out NTHNL!
https://www.instagram.com/nthnlx0/
https://www.tiktok.com/@madebynthnl

Flow$tate

Download/Stream: https://artist.link/grandpa

For Inquiries: beatsbygrandpa@gmail.com

Phantom Crown

dope boy on my phone and i never cop shit
walk to my death like a fucking nihilist.
succumbed to the injury i made in game
holding chains
i just form and chase, the bag inquiries for fags.
thats what they say what they say
bitch im the one whos puttings down the paint
with no exorcistic range
maniacle ego death by the bank.
run in with a choppa sending blades.
im out the country next day.
overseas blowing weed from the top floor in PARI.

watch your knees they could break from your bowing down to me.
only do the cocaine when its free.
these bitches on me.
walking through, hot topic, like an emo from the tens
present tense, you is folding, i just count my money it aint folding
dirty racks in the drawer yeah
while i smoke yah,
reaction times insane, took the merge had to stay in my own lane.
he was speeding up - i dont got time for hate
whip the shallow benz so slow in my own lane
wont slip and i wont crash unless im tryna speed
wont crash, police avoiding me.
thats the policy, rap and then i get my green.
flow victorious, nicked but still loaded up.
got a gun in the pants, lyrical bullets yeah.
im up till i die, i wont extradite no line.
bitch wont tell lies, thats how i knew shed end life.
i just took the knife and cut the ties then i flew with the wind like a kite

kaif
that is what my life.
do this shot extraordinary flows. im still not high.
tryna live my life, its so simple cant describe
walk like a king or a prince, i create time

yous a bitch, moving stacks of shit.
tell your body stank like shit.
i be moving bricks
build my house inside a brink
play my show at the rink, fire turned it to a sink
inward flip, flip you off then i skate. 
bitch on my dick so i dont got no time to count my cake
i took a furious mode turned it to the case

cased up the bands like a russian man
hand them off to make a blam.
here them shots resonating from the otherside.
no i know, no i know, that someone died.
mistake they did no research on my life
i move the sun with my mind.
aint no power i just live a natural life

otherside

Jewel

Retro Retrospect Retrospective Retrospectively

RM90 - The 80's

Ambrosia V2

Chill Relaxation... I know the word is ‘beach’ in English, but it once was ‘strand’ and the Danish word is ‘strand’ ;)

A Day On The Strand

Inspired by creatures and plants on and in and above the earth

Things of the Earth

Who's That Down in the Hole?

More on Bandcamp

Who's That Down In The Hole

Veröffentlicht von: deutsche musikalische Hilfsmittelgesellschaft.ev aka https://soundcloud.com/cosmic-ratzzz
Music, arrangement, final mix - Cosmic Ratzzz; Alto Saxophone - joerxworx

Lebensfreude /  Cosmic Ratzzz & joerxworx / Lunatics 17

YouTube: https://www.youtube.com/channel/UC4E91iv6ciiQBtsyQaprtug

Spotify: https://open.spotify.com/artist/2z2ugiTNppfcvhmUq8ocsY?si=ooZFkaWIQI29JN7KRHe84Q

Watching All The Planes

Columbia Overcome

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.

Who's That Down In The Hole

Jim Lynch