W/ MY BRUDDA TAXBRACKETT💯LOVE YOU TWIN

LHS 1140 b. (P. PLF&KN)

So addicted

Lyrics—

Baby this grass potent
Told you i been floating
Somehow this drinking just isnt enough
Baby we still vibing 
In fact the only time i ever catch a buzz when im with you love
Got me addicted
Finger wrapped around my mind
Now this blunt isnt phasing me something aint right
Feeling better inside when im seeing you smile
Girl you know i aint fronting do right by your side

Baby whats on your mind tell me what you want

Even if you want the moon know id fight the sun

Show you how to live life have a little fun

Baby get a thrill from the type of shit im on—

ST!LL V?B?NG (prod. CLØUD)

Peace, Love, Kindness, Grace, Hope...

The Planck length is the scale at which classical ideas about gravity and space-time cease to be valid, and quantum effects dominate. This is the 'quantum of length', the smallest measurement of length with any meaning. And roughly equal to 1.6 x 10-35 m or about 10-20 times the size of a proton.

Thanks...Cecilia...Same to you...And some philosophy I wrote inspired by wise spirits as yourself...

The Multiverse:   A Universe of dreams with stories to tell...by Paul Bennett 

Manifest and un-manifest Generosity, Love, Passion, Beauty, Coarseness and Irony. Raw, Weird, Logical, Odd and Full of Surprise from worped space to another universe oozing into influence a neighboring universe.  From Integrity, to Lies, Suffering to Joy, Blunt to subtle. For sure, God has a sense of humor, along with a Brutal Honesty.    Expansive beyond infinite Space.  Simple, complex and Elegant, with a Childlike bliss in a Sea of Mother Nature's Glory, in a cycle of creation and destruction. The expanse appears Orderly at a a distance, yet when super magnified, we observe a chaotic field of energy, all the while, we feel alone and insignificant, yet somehow at peace, knowing the infinite intelligence of the Multi-Verse we live,  is just a Sea of Polar opposites, with infinite randomness and with magical purpose.  Just pure Math...

Peace on Earth and Beyond....Paul Bennett (Paulo Medias Project) 12-24-2019

Earth

Our cover of "Totally Wired" by The Fall.
Hear the original: https://www.youtube.com/watch?v=sk1TP5EkLS4

Totally Wired

Retro Retrospect Retrospective Retrospectively

RM90 - The 80's

Joshua M Norton's Album

Among the Missing

track 1 of the new album Ozed.  All up on Bandcamp already

gumusservi
the light of the moon as it shines upon the water

gumusservi

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

For my late wife, you shine down on me my angel. xx

Sacred Spirit

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