Awesome bass intro! Love the beat groove! Nice mood...beautiful XOXOXO

Beauty, mystery, penetrated by the sun landscapes, Wedding, marriage, nuptials, bridal, nuptial, espousal, glans, coronation. 
Flight in the clouds. Pensive, contemplative journey. Fashion, mode, vogue, style, model.

Mystery Of The Third Planet

Un groupe de jeunes gens se forme dans un coin de campagne. Au même moment, une soeur et un frère se retrouvent dans une situation périlleuse... 
"Histoire d'une invention" est un récit dans lequel la musique joue la plupart des rôles principaux.

Histoire d'une invention ---- Chap. 1 (La terrasse)

A soundscape designed to flow though changing scenes, not only using sounds and dynamics but also changes in emotional and physical posture.
I believe everything we touch resonates with our core energy. 
My natural curve of expression seems to always be watching the inner and breathing while letting my connection occur with the unknown and infinite universe. Release your inner angels.

Travelers

29/1/23
only cover shared here.
Wanted to record a song that gradually speeds up, for a while 

Can't compete with the greats who have recorded this Tranditional American folk song (author unknown) but I was enjoying playing my version today.

I have changed some of the lyrics and based it on my favourite version by Big Bill Broonzy. Recorded at home with simulated live sound to emulate the Big Bill record I have, with help of my family and some free audio of 'medium crowd noise'. I should have layered on more clapping at the end. 

Lyrics:
Goin' down this road now feelin' bad
I'm goin' down this road feelin' so low and bad 
I ain't gonna be treated this way
I'm tired of eating fake food and bugs, baby 
I'm tired of eating fake food and bugs today 
I ain't gonna be treated this way These WiFi beams and screens are killin' my beat, baby 
WiFi beams and screens are killin' my beat right now 
I ain't gonna be treated this way
Takes fresh air and rain to wash to my feet, today 
I ain't gonna be treated this way 
I'm goin' down this road feelin' bad, baby 
I'm goin' down this road feelin' so low and bad 
I ain't gonna be treated this way 
I'm goin' where the chilly wind won't blow 
I'm goin' where the chilly wind won't blow, no no  
I ain't gonna be treated this way
I'm goin' where the weather suites my clothes, baby 
I'm goin' where the weather suites my clothes, tomorrow 
I ain't gonna be treated this way
I'm goin' down this road now feelin' bad, baby 
I'm goin' down this road feelin' so bad today 
I ain't gonna be treated this way


Goin' Down this Road Feelin' Bad (Traditional)

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

May do a stripped or acoustic version later.

The Moonlight Sessions

Glow

Kolodvorska luda

All We Got Is Time

Playing over a funky funky backing track using a new delay pedal.

Halo Funk

Deep relaxation with this.  Headphones are highly recommended.  Probably good not to listen to this while operating heavy machinery.

Ineffable (Lustrous Enfoldment Mix)

To quote Josh 😎
Ken (K2 and the Three and K2 and the Four). Ken added solid drums and sent it along to me. I added the bass, electric guitar, horns, electric piano, organ, and synth. I really like working on this kind of song, wherein it starts with a very strong element, like a riff or a melody, and I get some real, perfectly laid drums to go along with it. That's about as much fun as I can have, folks. Then, we sent it over to Tez (Llanpsych), who was able to make sense of my many layers, which never ceases to amaze me, and come up with an excellent mix. I really appreciate the very talented Sean Smith for sharing his music with us, my dear friend Ken for including me in the project, and my other partner Tez for manning the mix and production. We hope you enjoy the result.

Kolodvorska luda

Komodor Kolodvor

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