Video: instagram.com/p/DLvL8eFoubs

Vocals (Composition, Arrangement & Performance): Elpiverse
Two Guitars (Composition, Arrangement & Performance): @counterworlds-voltage
Mix & Mastering: Elpiverse
Production: @counterworlds-voltage & Elpiverse
Artwork: Elpiverse
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Medusa

Cosmic Soup

Listen to the other parts of this series and the upcoming album:
1. https://soundcloud.com/kapellmeister-krause/guilt
2. https://soundcloud.com/kapellmeister-krause/repentance
4. https://soundcloud.com/kapellmeister-krause/purification
5. https://soundcloud.com/kapellmeister-krause/grace
Lyrics:
Oh yeah... are you ready... check this out... here we go...
In pure hearts, in true souls
Receive his restitution
When divine peace unfolds
Embrace the absolution

Receive his restitution
Step into transformation
Wellcome your resurrection
Embrace the absolution

Confess, devote to love
Step into transformation
Reach out for heaven's trove
Embrace the absolution

Receive his restitution
Step into transformation
Wellcome your resurrection
Embrace the absolution

Be grateful, honor your word
Wellcome your resurrection
Celebrate gift of the lord
Embrace the absolution

Receive his restitution
Step into transformation
Wellcome your resurrection
Embrace the absolution

Your absolution - your absolution...
...oh yeah!

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"Forgiveness" is the third piece in a 7-part suite of the upcoming album "Transformation". The sixth piece, “Comfort” is set to be released in december 2025. The full album will be completed in the new year (God willing).


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Created and conducted 2025
by Kapellmeister Krause

Transformation

Forgiveness

Forgiveness (Your Absolution)

Vidéo par Muette : https://youtu.be/TirWU1LibgI

By The Way             (Translated after the French text )
Texte et chant : Muette
Musique : Alain Illos

T’as vu, d’puis quelques temps,
J'te prends plus dans mes bras.
Lorsque tu rentreras,
Tu trouv'ras dans l'frigo
Un gigot piqué d'ail.
By the way, faut qu'j'm’en aille.

Je s'rai plus là dimanche
Mais embrasse tes parents
Qui m'aimaient bien je crois.
Dis-leur qu'c'est moi qui flanche,
Que c'est moi la méchante.
By the way, je m'en vais,

Avec le minimum,
Sans meubles et puis sans homme
Aux angles obtus et durs.
Je m'en vais habiter
Une maison sans murs.
By the way, j'en suis sûre.

Le linge est repassé,
La vaisselle est rangée.
Je n'ai pas su ôter
La petite poussière
Qui t'avait recouverte.
By the way, j’fais place nette.

J'ai beaucoup réfléchi
Mais tes mots sont du bruit
Qui ne frappent plus au cœur
Mais seul'ment au tympan
Et je sais qu'il est temps.
By the way, il est l’heure.

By The Way

You've seen, for a while now,
I can't hold you anymore.
When you come home
You'll find in the fridge
A leg of lamb spiked with garlic.
By the way, I've got to go.

I won't be here on Sunday
But give your parents a kiss
I think they liked me.
Tell them I'm the one who's flinching,
I'm the bad guy.
By the way, I'm leaving,

With the bare minimum,
No furniture and no man
With hard obtuse angles.
I'm going to live
A house without walls.
By the way, I'm sure of it.

The laundry is ironed,
The dishes are put away.
I haven't been able to remove
The little dust
That covered you.
By the way, I'm tidying up.

I've thought a lot
But your words are noise
That no longer strike at the heart
But only to the eardrum
And I know it's time.
By the way, it's time

By The Way  avec Muette

Lyrics:
She was wrong for me
I knew it from the start
I'm not very smart
I left a spare key under the mat
To my broken heart

I'm kicking it
One step ahead of the blues
I'm kicking it 
One step ahead of the blues
I'm sleeping it off in those Sunday pews

My boss had an epiphany
When I was working at the mortuary
He said: Dig them holes faster!
"This business has no room for uncertainty!"

That may be
Oh, can't you see?
When I'm working for you
I just don't feel like I'm being me
When I'm working for you I ain't following my muse
And there she goes...
(There she goes!!!!)

I'm kicking it
One step ahead of the blues
I'm kicking it 
One step ahead of the blues
Hey friends, won't you help me spread the news?

I get all my blues for free
Don't you know I'm so low I can't see?
A lousy day...
A lousy pay...
I'm a lousy lay...
I think I'm everything
That everybody say

I'm kicking it
One step ahead of the blues
I'm kicking it 
One step ahead of the blues
I'm sleeping it off in those Sunday pews

One Step Ahead Of The Blues

We all get there in the end, This is a light hearted look at getting older. much better than the alternative. 

Written, Performed by : Johnny Mc Farlane

Life's about Living

Life's about living

Will you love me still, when I'm old and grey

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

The blues are steeped in the tradition of bawdy/dirty songs. Think of Bo Carter (my pencil don't write no more) or Lil Johnson (Sam the hot dog man). You get the idea.
Here's my bawdy blues celebrating outdoor sex.
Added to my album "All This Useless Beauty." Check it out!


Lyrics:
Ohh my girl 
She's so cityfied
But something comes over her
In the countryside
When she tells me to pitch a tent
I see in her eyes
That bad intent
She becomes a wild woods woman (2X)

Riding down the road
She says:
"Get a blanket and pull over to the side."

We're out in nature
Doing our thing!
All god's creatures they cover their eyes
Oh, the ground is so rough
Don't ya know she can't get enough
Wild woods woman (2X)

In the tall grass
Having some fun
I feel like Mother Nature's only son
Down in the milkweeds that makes me sneeze
Don't ya know she's got me on my knees
It gets so hot!
So hot!
So hot!
She never tires
(Only you can prevent forest fires)

Wild Woods Woman

Lyrical wrote from my thoughts about the run up to the last general election. Thinking the last clowns made a complete hash of it and the next clowns will do exactly the same.
So who the bloody hell do I vote for. If I don’t vote then I can’t complain if I do vote I fear it will be the wrong choice. Someone told me if I write on the ballot paper none of the above then that still registers as a vote, so at least I tried. 
The idiom "pressure makes diamonds" suggests that adversity and challenges can lead to remarkable outcomes. It implies that difficult situations or intense pressure can bring out a person's best qualities, potential, and resilience, ultimately resulting in something valuable or brilliant, just as diamonds are formed under immense pressure. 
But these idiots under pressure only make dust !
So Conscience Of Kings gives you 
Pressure makes diamonds …..


V1
In plain sight I can see the  red flag’s flying 
So fire away again with compulsive lying 
As I’m high up  here in the middle England 
Rubbing doc leaves on for the stinging

Chorus 
Pressure makes diamonds 
And you just make dust
Pressure makes diamonds x3
Not something we can trust 

V2 
This country make’s stupid people famous 
Then tries to make out that they are somehow blameless 
I have no idea we’re I would put my stupid x 
They will be just as bad as the last I suspect

Break 

Middle8 
There’s a saying in Europe 
And You can look it up
It’s really quite unusual 
Something they don’t trust 

Chorus to finish

Pressure Makes Diamonds ~Conscience Of Kings

Reminiscence – The Gentle Return
Sometimes the heaviest moments are the quiet ones.
When a single piano speaks louder than any voice,
not with words, but with the aching stillness left behind.

Reminiscence is the sound of looking back,
of revisiting the empty chair, the quiet room,
the laughter that once filled it – now just an echo.
It’s not a cry for comfort, but a slow exhale of memory.

This piece doesn’t try to escape the sorrow.
It walks beside it – unafraid, tender, honest.
Because some things cannot be forgotten.
They live on in sound, in silence, in the spaces between the notes.

Performed entirely on the Bechstein  –
a grand piano from EastWest, known for its haunting intimacy.
Its velvety resonance and delicate detail bring life to the sadness,
like a whispered goodbye that lingers in the air.
Every nuance was shaped by human hands – with reverence, with grief.

Part of the album Tides of Melancholy.
No AI. No shortcuts. Just soul, sorrow, and sincerity.

Composed, played, and felt by myself –
for all those who carry someone in their heart but can no longer hold them.
Thank you for listening – and for making space for this gentle return.


Reminiscence – Die leise Rückkehr
Manchmal sind es die stillsten Augenblicke, die am schwersten wiegen.
Wenn ein einziges Piano lauter spricht als jede Stimme –
nicht mit Worten, sondern mit dem Schmerz,
den nur die Abwesenheit kennt.

Reminiscence ist ein Blick zurück.
Zu dem leeren Stuhl. Dem stillen Raum.
Dem Lachen, das einmal darin lebte –
nun nur noch Erinnerung, verhallt im Nichts.
Dieses Stück sucht keinen Trost.
Es atmet die Trauer – langsam, behutsam, aufrichtig.

Denn manche Verluste verblassen nicht.
Sie bleiben – in einem Klang, in der Stille,
in dem, was zwischen den Tönen unausgesprochen bleibt.

Eingespielt auf dem Bechstein Sus Rep Lite DYN –
ein Konzertflügel aus der EastWest-Piano-Serie,
geschätzt für seine emotionale Tiefe und intime Klangcharakteristik.
Sein samtiger Ton und seine fragile Präsenz
verleihen dem Schmerz eine Stimme,
wie ein leiser Abschied, der in der Luft stehen bleibt.
Jede Note wurde mit Sorgfalt und Gefühl geformt – von echten Händen.

Teil des Albums Tides of Melancholy.
Keine KI. Kein Trick. Nur Seele. Nur Trauer. Nur Wahrheit.

Komponiert, gespielt und empfunden von mir –
für all jene, die jemanden im Herzen tragen, den sie nicht mehr in den Armen halten können.
Danke fürs Zuhören – und dafür, dieser leisen Rückkehr einen Platz zu geben.

℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, modification or distribution of this track is strictly prohibited and will be prosecuted under applicable law.
℗ 2025 DestKorn | © 2025 DestKorn. Alle Rechte vorbehalten.
Jegliche unautorisierte Nutzung, Vervielfältigung, Bearbeitung oder Verbreitung dieses Tracks ist untersagt und wird rechtlich verfolgt.
Artist & Publisher: Matthias K. / DestKorn
SenneRecord – established 2012

Reminiscence

Collaboration
Check out AnandaTuk's music at: @user-11396379

For Some Strange Reason -With AnandaTuk

Hi, My name is Johnny Mc Farlane, I am an Indie songwriter from Ireland. I write, play, produce and distribute my own music. I try to write songs that will mean something to whoever may be listening. I try to express feeling and emotions through my music, I try to hit the heart and soul of whoever may be listening and to pass on my feelings through my lyrics and my music. A lot of the songs I write come from Personal experiences, some are pure imagination, but all try to carry a message of Hope, Fait, understanding and a spiritual message of love. I am just one voice in the wilderness but together we are stronger. Thank you so much for listening to my music. It’s a real honour.

Will you love me still, when I'm old and grey

No killie fish