I’m surprised this track ended up being finished first, as I had another one that was already completed—at least, I thought so. That track only had 6 tracks, but every time I tried to sync it to the DAW, the vocal glitched out. I tried everything, but it just would not sync, so I decided I’d have to retrack the vocal in the DAW before I could call it finished. After giving up on that for now, I switched over to this current project, which had 11 tracks. I’d already been working on it for a week and a half, building up the lyrics while learning the groovebox. For some reason, everything with this one synced perfectly the first try—no glitches at all. I was able to add guitars without any lag. I didn’t intend to make a super complex mix; I just followed where the song led. The result was a track with tons of elements, different genre influences, and a natural flow. I wouldn’t usually think I could fit this many styles into one song, but it came together effortlessly and was a joy to create. 

As the week went on, different lyrical themes and melodies came to mind. It’s something I try to explain often. It’s not about how many material things we get. It’s about shared time and making good memories. We learn this the hard way in life. We think the people in our lives will always be there. Because of that, we waste our time with them or don’t get along as well as we should. Then we end up regretting not spending more time. The other things we chased lose their value and become meaningless. We’d give anything for more moments. 

Musically, I used synths like Fabric XL, Hype, and Solina. I won’t go into all the mixing elements and bus processing, but there’s some involved. I felt like using wah guitar on this one, and will again when a song calls for it. Vocally, this mix has a much different sound than most of my others. Every mix seems to have a new vocal sound—I don’t stick with the same thing. I promise you this: I will never write music with AI. Everything I do has my human touch, and I will play it live for you. 

Hallucinodream is an only one 
in the memories
Only one so real 
Gotta make time
Keep priorities in line

You want the memories to last
I’ve tried to explain it’s finite
Want to make the most of 
Make the most of our limited time

You wanna live inside the past

Because the meat and heart of life
About the time we spend together
Always cheat and try to fight 
Aways focused on material

Meat and heart of life
Cheat and try to fight 

Focused on material
Oh oh oh oh 

Hallucinodream is an only one 
in the memories
Only one so real 
Gotta make time
Keep priorities in line

Wherever you go 
Right here you always have a home

You want the memories to last
I’ve tried to explain it’s finite
Want to make the most of 
Make the most of our limited time

Because the meat and heart of life
About the time we spend together
Always cheat and try to fight 
Aways focused on material

Meat and heart of life
Cheat and try to fight  (focused on material)

Hallucinodream

Multi Genre DJ, Started in my first club in Worthing Sussex at age of 14 and have not put the music down since, Was a Regular visiter to Sterns Underground in Highdown Sussex and every Sunday spent at the Beachcomber Club in Brighton until the age of 26 before moving to London, Grew up with some now big name DJ's around me and became a VJ with projector's and graphics until covid lockdown hit then started on the Decks and here we are today loving and mixing everything that has a danceable tune to it. I will happily perform for any Online Radio Stations and Clubs or Parties but sadly can not commit to a regular station, although regular venue would be nice.


House Music, Funky House, Trance/PSY/Goa , Tech House here you will find links his Mixes and Sets.
Mickey's Love for Music started at a very young age when he picked up his first Trumpet at the age of 11.
Mickey started his love for music in the 80's with really old school house, to Sterns Underground with Interdance in Highdown Sussex and London where Mickey could always be found hanging around Whoop Whoop parties in Woolwich through to the main Underground scene in London where he discovered the Fridge on a Friday night with it's PSY/Goa Trance nights where I met Shakti, Ollie Wisdom from Space Tribe, Astrix but to name the few.
Covid Lockdown that was it, Studio re built and finding himself playing for Online Radio Stations all over the world from Dubai through to The UK Mickey re surfaced under his VJ Nickname
DJ MickyTek.

THERE SURE IS A LOT OF SYNTHWAVE AROUND HERE

Eric Schultheiss stands at the vanguard of contemporary composition, forging a unique path that bridges the rhythmic drive of global percussion with the infinite possibilities of digital sound. As a composer, percussionist, and educator, Schultheiss is acclaimed for his hybrid electro-acoustic works—pieces that fuse the organic pulse of drums with orchestral richness and the sonic innovation of modern electronics.

Rooted in a Southern California upbringing steeped in progressive rock, classical discipline, and the improvisational freedom of jazz, Schultheiss draws on a vast tapestry of influences. His music channels the off-kilter accents of Stewart Copeland, the lyrical intensity of Neil Peart, the storytelling depth of Peter Gabriel and Sting, and the progressive artistry of Genesis, Dream Theater, and Spock’s Beard. This synthesis results in compositions that are as intellectually rigorous as they are emotionally evocative.

Currently, as Head of Percussion Studies and Electro-Acoustic Composition at the Middle Tennessee Conservatory of Music, Schultheiss is an outspoken advocate for the DAW as a true instrument. In his hands, digital workstations become canvases for sonic experimentation, allowing for real-time orchestration, microscopic precision, and the layering of polyrhythms and timbres that would be impossible with traditional notation alone. He champions technology not as a shortcut, but as an authentic extension of the composer’s voice.

Signature works such as Lights Twinkle—a Christmas percussion-ensemble piece blending Japanese Taiko, harp, and haiku-inspired vocal textures—showcase his ability to unite tradition with innovation. Airidea’s Journal explores the dialogue between structure and freedom through dance-driven percussion and atmospheric synths, while As You Sleep and Terminal Memory reveal Schultheiss’ penchant for ambient soundscapes, introspective melodies, and cross-media collaborations. His compositions have been commissioned for film, dance, and multimedia productions, performed by leading ensembles, and praised for their intricate interplay of rhythm and resonance.

As an educator, Schultheiss is dedicated to shaping musicians who are not only technically skilled but also creatively fluent in both acoustic and digital modalities. At the Middle Tennessee Conservatory, he mentors young composers in hybrid techniques, polyrhythmic structures, and DAW-based workflows, encouraging them to embrace technology as a creative partner. His influence extends beyond the classroom, as he helps students gain visibility in the digital era and equips them to thrive in an evolving musical landscape.

Through his relentless curiosity, innovative spirit, and commitment to artistic growth, Eric Schultheiss is redefining what it means to be a composer in the 21st century. His work is a testament to the power of bridging tradition and technology, and to the limitless frontiers that await those willing to explore them.

EMPECE PINCHANDO CON CINTAS ,
VINILOS , CD,S ETC
LA MÚSICA LO MEJOR

Hallucinodream

Mark Antares