Love this! Thanks for sharing this real music.

Always fun to indulge your thoughts, dig that late 60 sound, floating along with you, and the early 60s are cool too! humans are so creative, much enjoyed your pastely sonic painting! great bass and horns!

Ekasha Gada is the mace wielded by Lord Shiva, one of the three primary deities in Hinduism. According to mythological accounts, a single blow from the Ekasha Gada is said to be as powerful as being struck by a million elephants, emphasizing its immense force and destructive capabilities.

Guitars, Bass, Mandolin, Vocals: PS Perkins
Drums, Percussion, Backup Vocals: R Thomas

LYRICS:
-----------------------------------------------

God Killer
World Eater
Thunder Breaker
Widower Maker
Ekasha Gada!

Storm Rider
Soul Slayer
Time Twister
Holy Diver
Ekasha Gada!
 
Space Bender
Life Ender
Eye Melter
Death Bringer
Ekasha Gada!

Moon Razer
Cloth Cutter
Dragon Brother
Chaos Mother
Ekasha Gada!

Horn Blower
Smoke Maker
Night Chaser
Day Tripper
Ekasha Gada!

Head Chopper
Code Cracker
Bone Chewer
Sonic Reducer
Ekasha Gada!

Fire Breather
Lava Seeper
Spirit Seeker
Energy Reaper
Ekasha Gada!

Earth Shaker
Sea Splitter
Galaxy Smasher
Planet Basher
Ekasha Gada!

Boulder Buster
Ship Sinker
Steel Bender
Mountain Wrecker
Ekasha Gada!

The Ekasha Gada

Ray and I improvised this song together, only not at the same time and not on the same continent. Go figure.

You can visit Ray here: https://soundcloud.com/user-364196783-552705040

Steady (with Wodwo)

Smegma 042925

another hole

The amazingly Valuable Friends joined me as we left the planet:

@rick-4-1 Earthquake Sofa Drums
@janinelevinson Interplanetary Dove Vocals
@phil-mcwalter The Other Burned Launchpad Stuff

Drums recorded at Mickleton Studio, Coventry UK
Other instruments and vocals recorded at EPG Studios, Chelsea, UK
Janine's vocals recorded at The Levinson Sound Studio, LA, Calif, USA
Phil's additional vocals recorded at Anslow Studio, Staffs, UK
ReMixed & ReMastered at EPG.

Thanks to Rob Campling for assisting with string theory.

RUNAWAY STARS - THE UNEXPURGATED CODE

We have a duty to be here
Without us
Who'd see the runaway stars
Who could walk along the beach
Look for seventh waves
And feel the wind up high
We sit and talk all
Through the night
Travel our world and share our castaway finds

We have a duty to be here
To hear the song
Feel the heart of forever
Burning holes within black holes

There is a reason
To turn the page
Quantum runes feed today’s exit phase
We burned new colours
On Launchpad Love
In earthquake sofas seeking twigs from the dove

We are the runaway stars
We are the runaway stars
We are the runaway stars
We are the runaway stars

Inside our bubble
We heard your tongue
Repeating echoes paraphrase the song

Break

We burnt new colours
On Launchpad Love
In earthquake sofas seeking twigs from the dove

And we have a duty to be here
Without us who would see the runaway stars

Solo

Without us who'd see the runaway stars

And we have a purpose
To exist to hear the song
Feel the heart of forever
Burning holes within black holes

Don’t lay down and rest now
Lift your head
The stars change colour as they drift past your bed
The Sun is expanding
Eternal night
May return to shield our escape flight

We are the runaway stars
We are the runaway stars
We are the runaway stars
We are the runaway stars

And we have a duty to be here
Without us
Who would see the runaway stars
Who would see the runaway stars
Who would count the runaway stars

© Phil McWalter Aug 2020
Image: Photo taken by James McWalter at Beachy Head where the returning WWII planes knew they had made it back home. AI rockets layered on.

The Runaway Stars - The Unexpurgated Code

Those Songs

Crumbled

Polio Bladdermilk 050125.mp3

No fear

They sang not with voices, but with the memory of shape.
Beneath the shattered pane, echoes gathered
fragments of forgotten rites,
lit by the flicker of a candle that never cast heat.
Each note a reflection,
each silence a scream caught in glass.
An homage to the room that remembers you,
long after you've past.

Canticles for the Dead Mirror

This one started as attempt to do some abstract pop. It evolved into a place somewhere between pop and jazz, at least to me. There was a time in the late sixties where the harmonic language I use here developed. Songs like Being Alive, by Sondheim, Wichita Lineman, by Jimmy Webb and others used a combination of 6th's 11th's 9's and suspended cords to create this floating feeling. It's basically some version of stacking 5th's, harmonically. I'm generally a thirds guy. A big third sounds so good on a bass, think "Walk On The Wild Side". Daphnis et Chloé Suite n°2, by Ravel, most of Jobin's work and Giant Steps, by Coltrane would be mastery of stacking thirds, in my opinion. In fact Daphnis et Chloé, Suite n°2 is one of my favorites and one that dazzles me still. It's funny though. Because this type of approach, the 5th's I mean, in popular music, was only prominent in the late sixties to mid seventies I tie it emotionally to childhood. I was born in 1968. I could go on but I think that's enough. Thanks for listening and indulging my thoughts.

Painted In Pastels

I'm a conceptual musical artist but the concepts are vague and I'm not willing to explain them.

Painted In Pastels

jon lock

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