Cheering me up

I’ve got my work cut out with you
Your fitted shirts, and your patent leather shoes
A choice of cars to drop your kids at school
You’ve got it
I want it too
 
I’ll find you drinking at the bar
You’ll tell me all about your personal par
Then late at night I’ll walk you home, sweet home
You’ve got it
I want that too

The wheel of fortune just keeps spinning on and on
Where it stops no-body knows
Your run of luck just bounced right off the table
You had it 
I’ve got it now

We’ll go inside for one last drink
I’ll fix your nightcap while you take a leak
And when you wake up you’ll be six feet deep
You had it
I’ve got it now

You thought the world belonged to you
Well now you know it was yours to lose
I was just waiting in the wings out there
You had it
I’ve got it now
 
You shouldn’t feel too bad about yourself
I quite admire your nerve
If I had been the one who had it all
I’m sure, you would have got to me first

The wheel of fortune just keeps spinning on and on
Where it stops no-body knows
Your run of luck just bounced right off the table
You had it 
I’ve got it
You blew it 
I won it
You lost it
I’ve got it now

And when you curse the day we met back then
And think about your life
Console yourself with this one last thought
It’s me, that’s sleeping with your wife

You had it 
I’ve got it
You blew it

You've got it, I want it

“Bipartisan Compromise”

Love comes suddenly into your life
Flooding you heart and soul
Love comes suddenly into your life
Love’s out of your control

They met at a political conference
They were sitting in opposing aisles
Their eyes met briefly, there was confluence
He turned red, she turned blue, then they both turned and smiled
O such lovely smiles

Love comes suddenly into your life
Flooding you heart and soul
Love comes suddenly into your life
Love’s out of your control

They were paired in one of many breakout groups
Where they each first heard the other one speak
She carried on as if she were addressing troops
And he matched her fury, staring sternly, rebuking her with a nationalist screed
O how sweet

Love comes suddenly
Don’t matter left or right
Love comes suddenly
With a heart to harmonize
Love comes suddenly
Proposal to wet your eyes
Love comes suddenly
Bipartisan compromise

And love will bring the truth
When love shines its light
On all their principles
Testify!

Love comes suddenly into your life
Flooding you heart and soul
Love comes suddenly into your life
Love’s out of your control


He caught her sneaking out back of the conference
With nascent love in her shimmering eyes
And he held her gaze with such confidence
That they both knew, red and blue, that for this love they’d compromise
O is that so
O is that so very wise?

- - -
Music by Corey Ball
Lyrics by August Lysy

Mastered by Spencer Martin

Bipartisan Compromise

PETER & CHICKEN

UNTITLED

Fisher King

Spotify: https://open.spotify.com/intl-de/track/5FsPCoQ2Y9Z0OuG5kWDxDs?si=c03ccc558021498a
Youtube: https://www.youtube.com/watch?v=EUxKzif8IKI
Soundcloud: https://soundcloud.com/konrad-spittelberg/yearning

Yearning. The pain when you long for something and yet can't get it. When periods of depression and self-immersion are interrupted by outbursts of hearfelt desire and longing, only to collapse into themselves again. And yet, excruciating as this bittersweet state of mind is, the heart nevertheless seems to also derive pleasure from it.

Compositionwise: 
The track is of the form Intro (@0:00) - Main1 (@0:33) - Main2 (@1:29) - Diversion (@2:19) - Main3(@2:53) - Outro (@3:17)
Overall, the track lives from its sequence of low-energy parts and muffled outbursts. Over time, the track increases in intensity, in two ways: First, its speed increases from the Intro in the Mid 60s to the Low 70s lateron. Moreoever, the melodical intensity of the variations gets increasingly dense (see below) 

The track starts with a low-paced introspect Intro where the left melody line goes up and the right hand down. This contraction in the used space of tones resembles the seclusion of the proponent of our story. The desparation is underlined by sudden crescendos and abrupt falling back into pian(issim)o. This effect is held up throughout the remainder of the track. The left hand in the Intro follows a low-paced half note beat. The right hand first introduces the lead theme that is later varied in the parts (M, M', M'') but then modulates in a unique way that is not repeated throughout the track again.
@ 0:33, the Intro is over and the first of the main parts, Main1, starts. The left hand increases its intensity from here on throughout the track by switching to quarters instead of halfs. The lead theme is modulated with more energy (and will be ever more intense in the later variations of Main). After that, the track goes @0:57 into a series of outbursts and resignations. This series is repeated in Main2 @1:57 in more intensity and a chord inversion higher.
The Diversion is characterised by chord inversions that gently fall down, just like rain that pours down that window that our protagonist stares through. And then reaches the biggest outburst of the whole track.
Finally, after Main3, which includes the most intense version of the lead theme and harmonically altered variation, the piece finishes with a questioning yet pieceful end.

In mastering the piece, after MIDI editing, one of the challenges was to find the right balance between the plaintive metallic overtone-rich outbursts versus a rich and full sound for the resignative parts. I chose the Pianoteq Warm Peterov Mistral (with some minor tweaks) as the piano. On this, I used three basic Cubase-inate effects: (1) some light-touch EQ (a scaled-downversion of Basic Piano), (2) compression (Ratio of 1.8) and (3) Reverb (the Cubase-equivalent of the Goldener Musikvereinssaal in Vienna of course :-)). The mix has been balanced at -1db to allow enough headroom for the streaming services' normalization magic to happen ;-).

Yearning (Piano Miniature)

A positive and hopeful track that I build around a nice little piano idea. I recorded some live acoustic guitars to add more energy and liveliness to the piece.

Full Of Confidence

This is my entry for Ryan Leach's April 2024 composing competition. The task was to compose a piece to a picture of Mont Saint Michel behind a field of flowers (with a max. length of 90 seconds).

For the composition process I pictured the following story / imaginary movie in my head:
A little boy travels to Mont Saint Michel to join the monastry as a novice. On his way he passes a beautiful field of flowers. He's cheerful, light-footed and almost dancing.
When he discovers the monastry in the distance he gets overwhelmed by awe.
In the last passage, we see the boy growing up in the monastry and becoming an educated, well respected young monk.

The Little Novice

I was fortunate to attend the International Health Institute conference in London last month and there were sessions run by a woman so passionate and committed to change to improve the delivery of healthcare to the masses and I thought her partner would be so proud . . .

Eccentricity so Beautiful

While life and limb can shatter          
It’s only hearts that matter - In our world - Darlin’ girl
You’re out there proselytizing.
And it’s so mesmerising - that’s your way – an ordinary day   

Something about you rising up      
Is cutting through my filling heart - it’s only love
On your soap box agent change
With so much to de-arrange - with a blast
            
Eccentricity so Beautiful (that’s you girl -it’s your world)

Those rank iconoclasts
Bathe in their master class - impervious - in Ivory towers
Talk as if they’ve got the plan
Line up and shake their hands - feel the grip - the hand of power

You’re raisin’ it from ground up
Changing at the speed of trust – with such feel 
Building leaders everywhere
Co-produce no limit skies – that’s our dream

Eccentricity so Beautiful (that’s you girl -it’s your world)

Exhausted but so energized - Trying to catch you in the eye - Need you close. 
I call you aphrodisiac - Hotel room take care of that – 
On that note

ECCENTRICITY SO BEAUTIFUL

Translation above

Les couleurs de l’amour

De quelle couleur est ton amour ?
Par quel détour est-il menteur ?
S’il est trop blanc
C’est un enfant
S’il est trop vert
C’est qu’il espère
S’il n’est que bleu
C’est pour les yeux
S’il est trop gris
Il n’est qu’esprit
S’il est trop noir
Y a plus d’espoir

Refrain :
Moi, je préfère le rouge
Parce que le rouge, ça tache
Tout comme mon cœur s’attache
Bien plus qu’un arbre à sa souche

De quelle couleur est ton amour ?
Par quel détour est-il menteur ?
Trop incolore
Il s’évapore
Trop éclatant
C’est aveuglant
Trop bigarré
Faut l’éviter
En demi-teinte
L’amour s’éreinte
Et trop brûlé
Faut l’enterrer
(refrain)

De quelle couleur est ton amour ?
Par quel secours est-il sauveur ?
Couleur câlin
J’aime ses mains
Couleur bougeoir
Dans ton regard
Couleur confiance
C’est l’évidence
Couvert d’honneurs
C’est le bonheur
S’il dure toujours
C’est bien trop court
(refrain)

Myckaël Marcovic, 25 mai 2021

The colors of love

What color is your love?
How is it deceitful?
If it's too white
It's a child
If it's too green
It means he hopes
If it's only blue
It's for the eyes
If it's too gray
It's only spirit
If it's too black
Y a plus d'espoir

Chorus :
Me, I prefer red
Because red stains
Just like my heart
Much more than a tree to its stump

What color is your love?
How is it deceitful?
Too colorless
It evaporates
Too bright
It's blinding
Too variegated
Avoid it
In half-tone
Love burns out
And too burnt
You have to bury it
(chorus)

What color is your love?
By what help is it saviour?
Cuddly color
I love his hands
Candlestick color
In your eyes
The color of trust
It's obvious
Covered in honors
It's happiness
If it lasts forever
It's far too short
(chorus)

Myckaël Marcovic, May 25, 2021

Les couleurs de l'amour

SO MANY THINGS SO MUCH TO TELL
FOR ME TO SING AND PUT YOU IN A NUTSHELL

MICHAEL TU PIGES 60 PIGES
LÀ OÙ TU VAS J’EN SUIS PASSÉ PAR LÀ
QU’EST-CE QUE TU CROIS?

TO CELEBRATE YOU TRUE WEIRDO
OH HOW I WISH I WAS MARLENA SHAW

MICHAEL TU PIGES 60 PIGES
LÀ OÙ TU VAS J’EN SUIS PASSÉ PAR LÀ
QU’EST-CE QUE TU CROIS? 

WISH I COULD SHARE SOME TUNES WITH YOU
AND JOIN YOUR MUSIC ASSHOLE CREW

MICHAEL TU PIGES 60 PIGES
LÀ OÙ TU VAS J’EN SUIS PASSÉ PAR LÀ
QU’EST-CE QUE TU CROIS?

TRAVELLING MAN A BIT HARD OF HEARING
MAKES YOU MY FRIEND ALMOST A SIBLING 

MICHAEL TU PIGES 60 PIGES
LÀ OÙ TU VAS J’EN SUIS PASSÉ PAR LÀ
QU’EST-CE QUE TU CROIS?

NOW LET’S SIT ON A STOOP
CLIMB ON A ROOF
LET’S HAVE CHAMPAGNE
JUST FOR THE HECK OF IT

MICHAEL TU PIGES 60 PIGES
LÀ OÙ TU VAS J’EN SUIS PASSÉ PAR LÀ
QU’EST-CE QUE TU CROIS?

CELEBRATION OF A TRUE WEIRDO  (Lyrics) song for Michael

Jonathan Beckenstein: Guitars, bass, musical composition and mix http://soundcloud.com/jonathan_beckenstein
Clarence Paisley-Cheesemont: Drums
Wheelwright: Vocals, vocal melody, lyrics and sampled cello

This track is available on Immaculate Distraction https://fictivesisters.bandcamp.com/album/immaculate-distraction

I am a great admirer of Jonathan's work and when he approached me with this wonderful piece of music asking if I might have a go at lyrics and a vocal I felt really privileged. I wanted to try to do as good a job as I could, but initially I struggled, and then, feeling extremely despondent I took a break from it. On my second attempt I think I started to listen properly to what the music was saying – rather than imposing too much of myself on it – and I  began to get melodies and word patterns that seemed like they were there under the surface already.

This has been an amazing project to work on, and Jonathan has been hugely supportive throughout. I've done my bit for sure, but it would have been nothing without the music.

Jonathan's posting of the song is here:

http://soundcloud.com/jonathan_beckenstein/we-all-know-how-it-ends

---

Last night I dreamed that I could play the guitar
I was on The Titanic trying to sing
My heart will still go on
But I kept getting it wrong and
I couldn't get the high notes but
At least we hadn't hit the iceberg yet and

All the stars above us shone
Like cheap sequins in the sky
Like they'd all just been stuck on
By someone who didn't try

I was studying Kate Winslet
She was standing by a ventilation inlet
In a girly dress despite the cold and
I could see that she was not impressed
By my extraordinary rendition
I said you're looking nice and
I need relationship advice and she replied
Let's take a walk on the starboard side

And the stars above us shone
Like cheap sequins in the sky
Like they'd all just been stuck on
By someone who didn't try
When life's too flattering too sweet
We all like to pretend
But we all know how it ends

We're listing to port and
Kate's politely listening as
I'm listing all the things I should have said to you but
Never did
And realistically I think she's thinking
Less about you and me and
Rather more about the fact that
We've all started sinking yeah
Into the unforgiving sea oh

But the stars above us shone...

bandcamp

We All Know How It Ends (Wheelwright + Beckenstein)

“Into Your World" was played on BBC Introducing. Have a listen at. https://www.korima.net



Korima’s song “Root” from debut EP “Into Your World” aired on RTÉ 2XM- The  London Ear - 23rd September 2023
 
The London Ear | The London Ear - RTÉ 2XM (rte.ie)
 




Samhain
The púca
Of all the ghosts and fairies abroad on Halloween, the púca (or pooka) was the most feared and October 31st was known as Púca Night in parts of Ireland. The púca, meaning 'goblin', can be malevolent or benevolent and is not solely associated with Halloween. It's a mythological fairy and the ultimate shapeshifter, capable of appearing in a variety of forms but most commonly as a dark horse or part dog.

Spring Solstice


Winter Solstice 
The Winter Solstice is an astronomical phenomenon that marks the shortest day and the longest night of the year. In the Northern Hemisphere, the Winter Solstice occurs on 21 or 22 December, when the sun shines directly over the tropic of Capricorn. At sunrise on the shortest day of the year, for 17 minutes, direct sunlight can enter the Newgrange monument, not through the doorway, but through the specially contrived small opening above the entrance known as the ‘roof box’, to illuminate the Chamber.

Samhain
The púca
Of all the ghosts and fairies abroad on Halloween, the púca (or pooka) was the most feared and October 31st was known as Púca Night in parts of Ireland. The púca, meaning 'goblin', can be malevolent or benevolent and is not solely associated with Halloween. It's a mythological fairy and the ultimate shapeshifter, capable of appearing in a variety of forms but most commonly as a dark horse or part dog.

October 

Night migration of birds.

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September

Barn swallows bury themselves in mud in lakes



August

Barn owls and birds of prey on the move
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July

Watching bats emerge at dusk.

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June

walking in meadows




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May
The Dawn Chorus:  Ireland 5 am.
-
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April
First swallow of the year
Welcome, welcome
From out of mud in lakes
Were you resting there?



March

Unveils like a first thought
A whisper



February

"Nothing stands out yet", you said
As you looked over your shoulder
Broad and rounded, square and hunched
I thought I heard you say, "We are water
And over time we solidify"

Concept Art by SuZanne Ledwith
Photography by something&knot Productions 
Graphic Design by Simon

January
Snow white egret
among fields of greenandbrown
Are you lost in its vastness?
Bubulcus ibis.

DE-cem- ber
Silver EEL migration 
down river to the sea
on a moonless night

through
an obstcale 
of nets
Cutting blades
pollution
And 
Par -a -sites
White egret



December
Mild to touch, not yet winter
snow drop dropping still
daffodil 

November, can I surrender to your dying
Are you truly dying or surrendering



Is it not enough to be ALIVE, autumn 
As birds migrate thousands of miles, autumn
Of an inner stirring and outward knowing

Is BE-ING
to Our Mind
bor -ing

As summer turns, it turns
To autumn, autumn
The slugs and worms live at the root; 
The slugs eat the juice of carrot
Is it good for their EyEs too...?

I buried a 'th' in the soil
With vowels and nettles
And I, this eyE, aye, oh
This What...?
This sometimes
Known thing
Doesn't kNOW oh oh

Winter take, take these
Sor rows, lay them
Deep ee eep
To become worms
for the birds to eat


ever ever
Denied to

.
Concept Art by SuZanne Ledwith
Photography by something&knot Productions 
Graphic design by Simon

Fisher King

Lexorot Nibor

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