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Just won’t burn

Avi Loeb is no stranger to controversy. The prolific Harvard University astrophysicist has produced pioneering and provocative research on black holes, gamma-ray bursts, the early universe and other standard topics of his field. But for more than a decade he has also courted a more contentious subject—namely, space aliens, including how to find them. Until relatively recently, Loeb’s most high-profile work in that regard was his involvement with Breakthrough Starshot, a project funded by Silicon Valley billionaire Yuri Milner to send laser-boosted, gossamer-thin mirrorlike spacecraft called “light sails” on high-speed voyages to nearby stars. All that began to change in late 2017, however, when astronomers around the world scrambled to study an enigmatic interstellar visitor—the first ever seen—that briefly came within range of their telescopes.

The object’s discoverers dubbed it ‘Oumuamua—a Hawaiian term that roughly translates to “scout.” The unavoidably cursory examinations of this celestial passerby showed it had several properties that defied easy natural explanation. ‘Oumuamua’s apparent shape—which was like a 100-meter-long cigar or pancake—did not closely resemble any known asteroid or comet. Neither did its brightness, which revealed ‘Oumuamua was at least 10 times more reflective than one of our solar system’s typical space rocks—shiny enough to suggest the gleam of burnished metal. Most strangely, as it zoomed off after swooping by the sun, the object sped up faster than could be explained by our star’s waning gravitational grip alone. Run-of-the-mill comets can exhibit similar accelerations because of the rocketlike effect of evaporating gases jetting from their sunlight-warmed icy surfaces. But no signs of such jets were seen around ‘Oumuamua.

To Loeb, the most plausible explanation was as obvious as it was sensational: taken together with its possibly pancakelike shape and high reflectivity, ‘Oumuamua’s anomalous acceleration made perfect sense if the object was in fact a light sail—perhaps a derelict from some long-expired galactic culture. Primed by years spent pondering how we might someday find evidence of cosmic civilizations in the sky’s depths, he became increasingly convinced that, with ‘Oumuamua, the evidence had instead found us. In late 2018 Loeb and his co-author Shmuel Bialy, a Harvard postdoctoral fellow, published a paper in the Astrophysical Journal Letters arguing that ‘Oumuamua had been nothing less than humanity’s first contact with an artifact of extraterrestrial intelligence.

The paper has been a smash hit with journalists but has fallen flat with most of Loeb’s astrobiology-focused peers, who insist that, while strange, ‘Oumuamua’s properties still place it well within the realm of natural phenomena. To claim otherwise, Loeb’s critics say, is cavalier at best and destructive at worst for the long struggle to remove the stigma of credulous UFO and alien-abduction reports from what should unquestionably be a legitimate field of scientific inquiry.

The observations suggest this unusual object had been wandering through the Milky Way, unattached to any star system, for hundreds of millions of years before its chance encounter with our star system.

“For decades we’ve theorized that such interstellar objects are out there, and now―for the first time―we have direct evidence they exist,” said Thomas Zurbuchen, associate administrator for NASA’s Science Mission Directorate in Washington, in November 2017.

Immediately after its discovery, telescopes around the world, including ESO’s Very Large Telescope in Chile, were called into action to measure the object’s orbit, brightness and color. Urgency for viewing from ground-based telescopes was vital to get the best data.

Oumuamua (First Contact Album Version)

All Instruments & Vocals by Martin Reed,
Composed & Arranged by Noel Gallagher,
Produced by Martin Reed.
https://www.youtube.com/watch?v=r9yV1ta9Lq8

Up In The Sky - INC VIDEO

Music, drums, keys : UK Man
Lead guitar PJ Project

Indias Sunset W/ UK Man

Oily Road Hideaway by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli.   

Performers:
George: guitars, Plank, string fish, synths
Dave: bass, percussion, keys, programming

Project directed by George Davies.

Recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 2000 Explicit Music.

Fun Facts:
* Oily Road Hideaway is in the key of G minor and the tempo is 85 BPM.
* It was composed at around eleven o’clock on a Friday morning in October 2000.
* Instead of being at home composing a tune, George should have been in Luxembourg to celebrate Floyd and Kat’s wedding.
* Unfortunately, Joe’s old Ford Sierra wasn’t up to the task of completing the journey.
* At around 3am, the old Ford emptied the contents of its sump all over the A303, about two miles from Stonehenge.
* The stricken Sierra was towed right back to Exeter and its sleepy occupants returned to their homes, disappointed.
* Within 15 minutes of returning home, George had composed this piece on a Hokada classical guitar.
* Nearly all the other pieces on the album At Least 1000 Words had their drums recorded at Tim’s house in North Devon, in a room about the size of a toilet.
* The mics were all pretty horrid too, and the whole system looked like it had been built by Captain Hook at a Heath Robinson school for elementary electronics.
* Oily Road Hideaway is the only track on the album that uses programmed drums.
* The rhythm breakdown in the middle of the piece was somewhat longer originally, and cut down quite drastically to save precious space on the CD.
* The Hokada classical guitar, on which the piece was written, plays two parts panned to the left.
* One is the main rhythm part, and the other a melodic motif, which only uses the two top strings.
* The nature of the part means that if one should find oneself at a party where there is a wreck of a two-string guitar, it is still possible to play Oily Road Hideaway!
* The other lead guitar part is played on the Yamaha steel string, which is panned to the right and plays unison with the bass to begin.
* Oily Road Hideaway features a delicate, wistful ostinato played on the string fish, an extraordinary instrument built by Martin from Pyg.
* It starts at 2:05 and continues to the drum break, then reappears at 2:54 and plays until the end.
* A string fish is a like a pair of dulcimers or zithers, joined together at an acute angle.
* The strings are vertical and to play a scale, the player must alternate between the left and right side, like a kalimba.
* Dave and George both play a unison bassline, on the Fender and the Plank respectively.
* George and the Plank are panned right, Dave and the Fender panned left.
* Just after the drum break, at 2:48, George plays two notes that Dave doesn’t play.
* Other than that, their parts are beautifully in sync.
* Flicker would have liked very much to have found a brass section for Oily Road Hideaway, but none was available.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/oily-road-hideaway

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words/
https://wudrecords.bandcamp.com/track/oily-road-hideaway
http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/flickermusic
https://www.instagram.com/wudrecords/
https://www.facebook.com/flickermusic
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

At Least 1000 Words

Oily Road Hideaway

Download

Flicker: Oily Road Hideaway

Erogenous Zone

Condition Report (Free Download)

Copyright 2017 
All rights reserved ENILSounds/ L. Munch-Petersen .
Time slipped through my fingers.

Falling leaves drift by my window
And the sun hides just because it has to
Now the wind will whisper a goodbye-tune
Like we knew
We always knew 

And Time slipped through my fingers every day
And words were torn apart in every way
We used to care so much
Now its lost
Now life has turned my dreams to dust

Now your dreams always knew just what mattered
Just like you know
How it feels when a dream was shattered
And who you are is
What you never done
You can take another turn
But you can’t take a second round

Time slipped through my fingers every day
And words were torn apart in every way
We used to care so much
Now its lost
Now life has  turned  our dreams to dust 

We used to care so much
Now its lost
And all our  dreams were turned to dust 
And time slipped through my fingers every day
And words were torn apart in every way

Time slips through my fingers
Now its gone
With all the things 
We know we should have done
And Time slipped through my fingers 
Now it's lost
Now life has turned my dreams to dust - to dust - to dust.

Time Slipped Through My Fingers.

STEINBERGER / Paploviante 2017
Bass: Paploviante - HOHNER (Rebuild of STEINBERGER Bass)
Sax: Jack Stafford
Guitar: Sandy Williams

STEINBERGER - Paploviante

Illusions - Composition, Arrangement & Production by Jorge Inacio.

Illusions

7 AND A HALF MINUTE LIVE VERSION OF "ROCKET" WITH EXTENDED IMPRO ENDING. gREETINGS FOLKS, GIGS AND VIDS COMING SOON. jOIN US AT www.facebook.com/thementalstraights

STALKERS SESSION 2

ROCKET (LIVE SESSION)

Exoplanet Microcosma (France) 2017 - Free Download 88 bpm - 90 bpm

Exoplanet

Exoplanet - Microcosma - 88 BPM

A soft hybrid Epic song.

This song is part of a series of songs about an imaginary place : The Horizon Gate.

This one is about someone who will have great responsibilities and great powers. This person needs to be strong and courageous, but also to be kind and sensitive! I wanted to make a song with strength but without aggressiveness.

I tried to make a song that makes you want to fight for good causes while keeping compassion, I hope it doesn't sound pretentious. 😇

I only used virtual instruments (solo voices, piano, guitars, strings, percussions, brass, woodwinds, synths).
Many parts are improvised and midi edited (piano, duduk, cymbals, brass and guitars). This part of my work has been long ... very long.

This is a sister song of "https://soundcloud.com/kamihunter/the-city-of-rain-a-storm-is-coming" and "https://soundcloud.com/kamihunter/the-city-of-rain-the-power-of-the-guardians"

Lost Horizon

The City Of Rain : The New Guardian

All instruments and programming Steve Matthews


Orca

black water freestyle (prod. by hellyx beats)

Fall 2019
A soundscape for a landscape.    -   Swedish Lappland

Synthesizers:
Moog model D
Moog Voyager XL
Moog sub 37

Aurora Borealis

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Condition Report (Free Download)

Jupiter State 1

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