A track I created back around 2010. It was my first full (completish) track. It's not perfect by far but I have a soft spot for it.

Cerulean

Mike Kerouac & Isaac SMILE
Manchester, London

Blind Vision, HedZup, Frost Plates, Music Related, Sustain, Haas, Raw Level

facebook: https://www.facebook.com/KerouacandSMILE

https://www.instagram.com/kerouacsmilemusic/

Email: kerouacsmilemusic@gmail.com

Tour Dates: See facebook page

Back in 2007 Isaac SMILE contacted Mike Kerouac on MySpace asking to remix a Kerouac track, the aforementioned remix never materialised, but what did was a friendship that would lead to the formation of Kerouac & SMILE. 
At the time Isaac was a resident at Micron in Manchester, at steadily building up a fearsome reputation as an excellent warm-up Dj. He invited Kerouac to play a live set in 2008 to support H.O.S.H and more slots followed.  
As a Micron resident Isaac has warmed up for a list of Dj's that reads like a who's who of the underground, Ritchie Hawtin, Loco Dice, Radioslave, 2000 and One, Justin Drake, Ame, the list goes on...... 
Kerouac started out predominantly as a live act, having secured remixes on labels such as Treibstoff and Hypercolour, and gained Dj support of his tracks from Laurent Garnier, Layo & Bushwacka! ,Anja Schneider and more. 
It wasn't until 2012 that they first went back to back on the decks, at a Micron birthday party at Joshua Brooks, Manchester. Shortly after that they decided to start producing together. Their ethos is all about solid, grooving, underground music, describing tunes their tracks as functional and groovy. Tracks that don't need to have massive breakdowns, snare rolls and white noise build ups. 
In 2015 the guys were lucky enough to be asked to play 3 hour set in Room1 at Fabric for the excellent WetYourSelf, an experience that they will never forget. This gave them the opportunity to build the sound and energy of the night right from nothing to peak time.
Over the last few years the guys have played numerous festivals and enjoyed releasing tracks on HedZup, Blind Vision, Music Related, Sustain, Frost Plates, Haas Records and more.  
In recent years Kerouac has produced as another duo, KRS Two with Adam Ross notching up several releases so far . During lockdown Isaac has started the DJ set streaming channel Acidhouse FM on Twitch and Mixcloud.

London based creator of lofi soundscapes, abstract jams and visuals

I also stream my tracks on Twitch from time to time 

https://www.twitch.tv/lorst3n

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/. Ω<[    music reposted here    ]>Ω .\

I can mix better at Fr4ktalBeing on twitch for now


DJ GHSTSCTR TW.tv TT.fm Hang.fm AND SOUNDCLOUD


A SUDDEN JIANGSHI APPEARS!!


>!!!< >>ADD MUSIC TO ANY OF MY PLAYLISTS<<
just send me the music and I'd love to include your suggestions!

~-constantly develop a healthy relationship with music appreciation-~

A long time ago, I would have said I was 'somewhere between Hardbass, Vaporwave and Soundtracks'

Alas, music is not so simple...

Please send me your favorite soundtracks, I hoard music.

(of course also your obligatory Soundclowns [But I try to only repost Vaporwave])

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
------------------------------------------
I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

-(:()--ooo=]
My other accounts: 
https://soundcloud.com/gabor-varga-392421361
https://soundcloud.com/not-fish-not-night/tracks

Cerulean

Lorsten