Sinister Serenade begins with a haunting minor feel, immediately setting a tone of melancholy and quiet despair. The track features a combination of electric guitar, ukulele, subbass, claps, choral pads, Rhodes piano, and additional piano layers, creating a rich but sorrowful soundscape.

At a tempo of 105.63 BPM and in 4/4 time, the track moves steadily, evoking the image of walking through cold, rain-soaked streets of New York on an autumn night. The third section of the piece introduces a cool arpeggiated guitar figure, panned to create a sense of movement and depth. Although the track maintains a single, melancholy emotion throughout, a shift in the middle introduces a hint of something more sinister, with subtle magical harmonies lifting the mood before returning to the somber melody.

The longing melody, which bookends the track, reinforces the feeling of solitude and contemplation, making Sinister Serenade an ideal choice for cinematic scenes that require a blend of sadness, quiet tension, and a touch of the supernatural.

Sinister Serenade

Counterbits Demo Pls

-> https://andersson-arte.com

Kindle eBook [ https://www.amazon.com.au/Unadulterated-Thought-Mechanism-Andersson-Arte-ebook/dp/B0DBP4WJL7 ]

Marty Andersson: Christmas Bonus - Last Embrace A cappella | Free Download

Cast of Characters:
Cgmaness – @user-419254289-15129531 – Chris – bass,  acoustic guitar, drums, and composition
TexMex Shaman– @texmex-shaman –Stephen–  mix, production, and mastering
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 – mandolin and lap steel
This song began as an idea that Chris came up with on his acoustic guitar, and shared with Josh. Josh, loving everything that Chris writes, jumped at the opportunity to work on it. 
  Josh first added the melodic lap steel you hear throughout. Then, in the same session, came up with and recorded the mandolin track. He believes Rick Rubin's mantra, when it's flowing, keep it going. This song was the first of about half a dozen that Chris shared with the Eclectic Collective back at the beginning of summer. So, it sat dormant for about five months, until Chris revived it by adding the impressive rhythm section of bass and drums to complete it. Chirs is always a multi talented part of the team. 
  When it was all in the can, we asked Stephen to mix it for us, because his mixes are always so pro sounding. He also mastered it for us, too. 
  This is the fist song that Chris and Josh have recorded as a duo in almost a year. However, they love recording together and feel this is a great way to start the New Year with some magical music. We all hope you enjoy listening to this as much as we enjoyed creating it.

Dance of the Tryptamines (with cgmaness, produced by Texmex Shaman)

Mats Demotape

Alla dagar. ( 1994 ) Eddy Mango - Margareta Theorin ( Eddy )

As I've started doing lately, this is a short excerpt, focusing on just the closing section of a full piano tune I recorded around 2001. The approach kind of reminds of the ending of "Crime Of The Century" by Supertramp (obviously nowhere near as interesting). Apologies for the poor recording quality, and the piano sound wasn't the greatest back then. Still, this little 1-minute closing section is still one of my favourite things I've recorded. 
Here's a link to the original, full tune:
https://soundcloud.com/user-432503709/the-last-days-of-november-2022-remaster?in=user-432503709/sets/mark-myoozik

More goodies in the "ISOLATED TRACKS" playlist:
https://soundcloud.com/user-432503709/sets/isolated-tracks

Last Days of November (EXCERPT - ENDING)

Cast of Characters:
Joe Stroffolino-- @joseph-stroffolino -- Taylor 114ce acoustic guitar, main vocals, harmony vocals, lyrics, composition 
Llanpsych -- @llanpsych -- Tez – Fender HSS Telecaster electric guitar
TexMex Shaman–@texmex-shaman –Stephen– Tom Anderson Custom T electric guitar, mix, mastering, and production
Mistermark-- @user-432503709 -- Mark – piano
K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums
Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –- four string Fender Precision Bass with a plectrum 
 
This song began as one of Joe's, lyrically centered songs, which he wrote and filled in with VST instruments. He came up with the lyrics by sharing ideas with fellow SoundCloud musician Michele Ansani.
   Knowing that Josh is a fan of his work, Joe offered this song to him in hopes that he'd share it with the rest of the band. Of course, Josh jumped at the opportunity to work on his song, and immediately shared it with the rest of the group. 
  Ken went to work first, adding his driving, excting drums. Josh was having a hard time coming up with a good bass line for it, until Ken suggested that he use the power of the 1/8 note to propel it. Tez was up next with his clever fills you hear throughout the first half of the song. Stephen came along right after and matched Tez's energy for the guitar fills in the second half of the song. 
  It was still missing a solo in the designated spot, though, so Mark stepped up with his innovative piano solo you hear in the middle. If it sounds a little mechanical, that's because he's using an arpeggiator to achieve the effect. We thought it sounded good in a song about AI, though. 
  Once all the parts were dialed in, and Joe had gotten all his vocals tuned up, we asked one of our resident pros, Stephen, to mix it for us. He did that and mastered it, too, expertly, as always.
  This is the first song we've ever done with Joe, and don't expect it to be the last. We all really enjoyed putting together, in no small part because Joe is such a competent, receptive, and gracious collaborator. We all hope you enjoy listening to it as much as we enjoyed creating it. 
Original lyrics by Joe Stroffolino (and Michele Ansani):
When I was thirteen I picked up my first guitar
it was my mother's, it only had one nylon string 
I tried to play it like a rock star
I learned to play the Coca-Cola jingle
So I could teach the world to sing
When I was fourteen, I put on six new strings
I learned to play Beatles, I learned a Bob Dylan song
I sounded out of tune but I tried to carry on
At fifteen I wrote my first original tune 
So bad it sounded like it might have been written by a baboon
When I was sixteen, I got a new guitar for my birthday
The metal strings sawed through my fingers 
But I continued to play
And the calluses formed and every day I learned a brand new chord
I was obsessed with that guitar and I never grew bored.
I wrote songs every day and most of them were a mess
But I believed that through hard work, I could achieve success
Malcom Gladwell wrote a book that said it takes ten thousand hours
To become and expert at your craft
But now all it takes is two commands and an enter
And in two minutes you have ten versions of the same damn new song,
You just have to choose the type
folk, rock, rap, pop, metal, jazz, trap or blues.
You don't even need to write the lyrics, 
your push a few buttons let the AI choose.
And people will think your songs are great even though you didn’t write or play a single note.
When I was 20, I did my first concert, it was time
it occurred in a village square
there were four cats all friends of mine
I was still using the plectrum and sometimes I got the chords wrong
at thirty I finally wrote what I thought was a decent song
It had a very well thought out structure
And a catchy vibe and beat
It was overly verbose but when I played it people tapped their feet
In my forties I stopped wasting my time
Work was more fun I was doing just fine

AI Sucks! (Eclectic Collective with Joe Stroffolino)

NO FUSS // Short Musical Story Why Excitement Is Not Worth It …
@docfritz // Soundscapes, Music, Rhythm Design, Cover, Mix & Production
Composed, Arranged & Performed by DOCFRITZ @ OESJ 
© 2025 // All Rights Reserved

NO FUSS

DRUMAX PROJECT proudly present track 60 ... nomen est omen :-)
@joerxworx > Composition, Instruments, Arrangement, Alto Saxophone
@docfritz > Rhythm Design, High Energy Drums & Ethnic Percussion, Artwork
© 2025 by joerxworx and docfritz / DRUMAX PROJECT

DRUMAX // THE SIXTIETH

special thanks for their acapella to : Ashes and Dreams
Additional voice " On sight"  thanks to :  Deadbitctrosa.....

Lyrics : 
The truth sure likes to sneak up on you
Yeah, the truth sure likes to sneak up on you

You got jump-scared so bad in your waking hours
You thought you were seeing stars
The truth sure likes to sneak up on you

Gonna see it, gonna see it, gonna see it, gonna see it
Gonna hear it, hear it
Only when you’re not listening

Gonna hear it, gonna hear it, gonna hear it, gonna hear it
Gonna see it, see it
Only when you’re not looking

It’s the same from Winnipeg to California
Punishing your intuition in the corner
It’s the same from Winnipeg to California
Punishing our intuition in the corner

The clue stuck to the bottom of a shoe
The mud trail she tracked through the living room
Told you what you already knew

The truth
The truth sure likes to sneak up on you
Yeah, the truth sure likes to sneak up on you
Yeah, the truth sure likes to sneak up on you

THE TRUTH. 🎧. Feat  Ashes and Dreams

250807

"Magic is what we do. Music is how we do it." -- Jerry Garcia

Welcome to my page, my peers, associates, friends, and musical family. I'm a lifelong, multi-instrumentalist musician who records prolifically and joyfully. You'll hear me play guitar, bass (regular four string, and four and five string fretless), mandolin, banjo, keys (piano, organ, synth), lap slide, sitar, and sing on my recordings here. I've been in a few dozen bands in my life, playing everything from bluegrass, jazz, rock, jam band, reggae, funk, afrobeat, Middle Eastern, traditional Irish, singer/songwriter, pop/covers, to experimental/avant garde. 
  Since I found SoundCloud a couple years ago, I've found many talented, creative people with whom to create music. However, in the summer of '23 I formed a band called The Eclectic Collective with some of my favorite musicians I've met through here. It started as a loose collective of musicians and coalesced into a core group of musicians who find other musicians with whom we'd like to make music, then run their songs through our process, and in effect add a full band. That core of The Eclectic Collective includes Tez (Llanpsych), J.J. Terrel, Ken (K2 and the Three), Stephen (Texmex Shaman), Chris (cgmaness), and Mark (mistermark). A couple of other musicians are frequent collaborators, as well, including Artur of Surfers Like Us, and Steve Vervaet of Steve's World. More recently, we've been joined by Carl of The Beautiful Dark fame. 
  The magic of music is amplified exponentially by each person adding to it. So, we really try to add our sorcery all kinds of music from all kinds of artists. Sometimes, we keep it within the group, but a lot of what we do is collaboration with other artists. Therefore these days, 100% of what I do is collaboration, within the group or with other artists on the side.
  I, and we, are also available for hire if you have a song or lyrics and you really want to add bigger instrumentation or a band and good production to it. 
  A small sampling of the artists whom I consider primary influences, and whom you will hear coming through my fingers include Phish, The Flaming Lips, The Grateful Dead, Radiohead, Rye Cooder, Steve Earle, Miles Davis, Fela Kuti, Arcade Fire, Mikey Dread, Yellowman, Purpleman, The Meditations, Michigan and Smiley, Lee Perry, Dillinger, Django Reinhardt, Impossible Recording Machine, The Allman Bros Band, Pink Floyd, Led Zeppelin, Cream, Bela Fleck, Les Claypool, Sam Bush, David Grissman, John Prine, Talking Heads, Beastie Boys, MMW, Moe., Morphine, Ween, Steve Lukather, Michael McDonald, John Abercrombie, Dave Holland, John Scofield, Victor Wooten,  Cannonball Adderly, Thelonious Monk, Flea, Parliament Funkadelic,  Frank Zappa, Prince Paul, Pete Rock, Thievery Corporation, Amon Tobin, Chet Baker, Joao Gilberto, Stan Getz, Astrud Gilberto, Carol Kaye, Tame Impala, Mumford and Sons, Japanese Breakfast, LCD Soundsystem, Beach House, Sean Lennon, and Billy Strings, but of course there are many more. I also really like and am influenced by traditional Iranian, Palestinian, Indian, Sri Lankan, Sudanese, Mauritian, Somalian, Egyptian, West African, and Syrian music. I welcome anyone who plays non-western music to contact me for a collaboration, too.
 I'm overjoyed to have found my community on SoundCloud. This is a truly unique forum where everyone is sincerely trying to build each other up. The profoundly supportive and positive SoundCloud community has really opened up an exciting new world of collaboration for me. That is the main reason I'm in the Cloud, actually, to connect with other musicians and make music that I enjoy listening to, and hopefully others do, as well. I am ALWAYS looking to collaborate with interesting musicians, mostly though BandLab, which is where I record almost exclusively. It's a solid, free digital audio workstation hub where you can share recording projects, even if it's not where you make your recordings.
  Everything I do is live instrumental, not programmed, and using no computer beyond my phone. That's not to say that I would be opposed to using that kind of tool, it's just not my preferred medium with which to paint. If you like my music, please share it. If you want to collaborate, my BandLab handle is @bingo_pajama. Feel free to contact me at cornbreadband@hotmail.com, as well, even if you aren't on BandLab.
  If your music is primarily AI, please don't come around my page, as I'm not at all interested in complimenting a machine.
  Here's a link to music I've recorded live with a group of musicians here in Pittsburgh called The Northumberland Street Ramblers.
Check out The Northumberland Street Ramblers on #SoundCloud
https://soundcloud.app.goo.gl/fU4Me