Name: Deep State Inc by Liquid Deviant
Duration: 5 min 6 s
Description: Take a Trip into the Deep State but Beware you may never Return...

This song is great. The other songs have nice designs too, but I like this song because of the restrained pressure, or should I say power, or the strength of the sound, which is expressed with good quality.

Gathering of Silence 04

Chorus
Got a few concepts 
Life serves a purpose
Let’s not shift our focus
My pockets have no surplus (X2)

Left lane right lane
No choice, when it’s all the same
Same game, no picnic 
Systems broke, they won’t fix it
Life is work, what shift is this
Just take up your lane
And mind your own business
No outlet, just gridlock and lockstep 
An influx of Notifications to obligations, not met
Forced to live your pain, then accept your death
Will anyone listen, about the changing climate 
No one hears a silence threats 
Two steps back, why the hell is that
Never really had my footing, and that’s a fact
If it’s established that’s a good thing
But how do we get there from the very beginning

Chorus
Got a few concepts 
Life serves a purpose
Let’s not shift our focus
My pockets have no surplus

Living for a payday, just ain’t good business
It don’t mean wealth or riches
Equal time or payment
That one percent is ruthless, 
Gatekeepers to key places
Holding all the leverage
Been this way for ages
Maintaining just how things are
So no one cannot change it
A never ending circle of henchmen, different faces
political power to start wars
If things ——don’t go their way
That a constant state of play
Armed with well aimed projectile
That can, ruin your whole day
Make no waves, make no mistake,
We’re all in a state of play

Chorus
Got a few concepts 
Life serves a purpose
Let’s not shift our focus
My pockets have no surplus

Got A Few Concepts

Inspired by Maurice Ravel's Le Tombeau de Couperin - No.4 Rigaudon 
Mary Jane joins our midnight session, adding the fifth guitar and helping spirits soar.  
Compare: https://youtu.be/51Sn-ym3UAs?list=RD51Sn-ym3UAs

Midnight Jam

Keys In My Blood

Asedio

Blackout

written, performed and produced by Richard Brown.

Lyrics:

I feel it comin I feel it within
My worlds getting darker the lights getting thin
I’m dying of hunger I’m dying to live
The spell that I’m under has left me in sin

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

It won’t be for nothin if I’m not to win
I’ll take what I’m given and drink it like gin
I’ll crawl through the darkness against the cold wind
And claw at your feet til you let me in

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

Blackout

Wish Of Silence

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)

13-4-2025

Take a Trip into the Deep State but Beware you may never Return...

Deep State Inc

All tracks are Originals Written/Composed/Played/Produced by Martin Jackson...email - marti369000@hotmail.com
(c) Martin Jackson Thank you

Deep State Inc

Liquid Deviant

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