Megan Thee Stallion VS SCH (Dramantic Remix)

Here'n'Now

This song is a little thank you to the MRI technician, who was not happy with me, she wanted me to keep still but the electronic sounds were so fabulous and I found it very difficult not to move.

https://youtu.be/4nG-2tyw2Ao

Resonance is majestic
It sure knows how to thrill
Moombahton, juke n'breakbeat
Occasionally deep chill
Girl behind the console
Said I must act more responsible
I need you to keep still

Lay still upon that flatbed
Diagnostics take their time
The protons in the molecules
Need time to realign
The protons in the molecules
They follow scientific rules
Every single time

Moombahton, juke n'breakbeat
A little bit of house
Shot from the anaesthetist
The lights, they just went out
Shot from the anaesthetist
To help with the analysis
Of the Administer of Grime

Lay still upon that flatbed
That is what she said
Lay still upon that flatbed
When I moved, well she saw red
Lay still upon that flatbed
She said that every time
The Administer of Grime

The Administer Of Grime

It Is What It Is

Music by Paploviante
https://soundcloud.com/paul-racle

Lyrics & Vocals by Cosmic Keanu

Back to You (I'll Find the Way)

Every time we break away
I feel blue,
just thinking of you

Can’t hide away
from the pain,
feel it night and day

Heart weighs heavy 
on my mind,
thoughts are unkind

So much trouble 
there to find,
I can’t unwind

Only one thing
on my mind,
silence on the line

Without you, 
I can’t rest
It’s meaningless

I feel so lonely I could die
Without you

In the dark my mind plays tricks on me 
you set me free

And when I call out your name
I feel eternity

Has it been a year or just a day
Time’s gone away
Time’s gone away
Time’s gone away

I’ll find the way
To get back to you

Wait there for me,
I’ll be there for you

I’ll find the way
To get back to you

I’ll find the way
To get back to you

I feel so lonely I could die
Without you

In the dark my mind plays tricks on me 
you set me free

Every time we break away
I feel blue,
Just thinking of you

Can’t hide away
From the pain
Feel it night and day

Without you, 
I can’t rest
It’s meaningless

I’ll find the way
To get back to you

Wait there for me,
I’ll be there for you

I’ll find the way
To get back to you

Back To You (I'll Find The Way) Paploviante & Cosmic Keanu

Blue Suede Shoes

Auteur compositeur interprète production : EmmaJack
Aide mixage :Grebz
Mastering: Jean Michel Vaicle

House lost in the mountain I come up to you 
I walk slowly and silent, my eyes on my shoes
I m walking, I’m breathing, my fingers are freezing, I’m climbing, I’m wondering, am I still on my way
I’m walking, sun’s blinding, my body is warming, big trees are dancing and I wonder if I ´m still on my way
Am I still on my way? Am I still on my way ?
House lost in the mountain I come up to you, I walk slowly and silent my eyes on my shoes
I’m walking, I’m suffering my mind’s still tormented , I’m climbing I’m wondering, am I still on my my way
Driven by a blind will I could find what I m searching I’ m breathing I m sweating and I wonder if I’m still on my way 
Am I still on my way ? Am I still on my way?
House lost in the mountain, I’m now close to you, I feel in peace and silent in the warmth of the wood.

Interactions

Climbing

Contemporary work for String Quartet, Woodwinds and Percussion.

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.

Suite for Chamber Ensemble 2024

Suite For Chamber Ensemble 2024

Tribrid: a three-way hybrid...term seems to have a recent resurgence due to popular culture. For me it was more about three sector mass spectrometry!! 

Tribrid Revamp ('Tribrid Vamp' remix)

Idiotic Robin - 13-4-2025

‘Marjorie Taylor Greene’ from the forthcoming LP ‘TRUMPED’

Once I was bad girl
A disappointment to all my pals
Sold them a genie
Left that life for TV

Never looking back
I’m a force to fear
Let the mirror crack
I will have THE career

Crossfit
House of Rep
Ku Klux Klan
Gomez, Jimmy
AR-15

Sit back
Think of that
Throw it in the sea
Bow down slowly
I’m Marjorie

Once I was mad girl
Maddest girl in all the world
With my maniacs CV
Gonna crush the EV

Once I was a shy girl
Turning cheek in another world
When I put on the TV
& Donnie is speaking to me 

Bleached blonde
Bad built 
Butch body

Marjorie Taylor Greene (teaser demo from forthcoming LP 'TRUMPED' by Mark Duffield)

markduffieldcollaboration