Everglow

This is a song written for Aaron. This will be included in the album " Family "

My Number One

O some days...I just don't wanna get
out of bed...and I wish it could be said
that U are the reason and the cause
(in a good way...) yea
if dreams were living then I'm sure 
I could be more forgiving to the dead
yea...we could meet on an island of clouds
come dressed in anything but our death shrouds
and everyone will be looking healthy
smiles and smiles for a thousand miles
not one above the other
and no need to hide and cover
cause if dreams were living
then I'm sure...I could be more forgiving...to the dead
yea...so I sink down further in my bed
and I pretend
cause when I awake to join the living
I must say goodbye to the dead in my head
and babe, my dreams...where I keep U...
yea...them dreams that are living
keep me thinking on forgiving the dead

I Could Be More Forgiving

neuver shapes

The Shoreline (Basics Remix)

Single (A-side) for Tower of the Ice Lich game coming soon to Steam: https://store.steampowered.com/app/3087730/Tower_of_the_Ice_Lich/. It's a retro game with retro music.
This is the credits track, with a monotonish dungdungdungdung DX7 bass and a vague, eerie Piano melody interspersed with Roland JX chords (both on a Jupiter X). The SFX come from a Korg Prologue 16 and Akai Pro Miniak. Lots of creepy echo and delay. Sort of mastered with Ozone, but kept a few cracks and pops for some extra retroness. In true retro-game style, it's loopable.

Cover art by Carl-Erik Engqvist of Sorchi Games.

They let me have a bit of synthwave here (bass and wait for the Jupiter chords). But also an awesome Roland RD piano with lots of reverb. Special effects from Roland and Akai Pro. Loopable in case you can't get enough of a single bass note on repeat.

Tower of the Ice Lich

2025-02-24

moon over the river

trombonist meets a violin day 2

Immense collection of sixty orchestral tracks set in frozen and glacial environments, covering a wide range of moods, intensities, and focuses, and serving as the perfect companion for documentaries and any other content set in Arctic or glacial regions. Whether for playful moments on the ice, majestic views of icy panoramas, adventurous expeditions among glaciers, or capturing the beauty of wildlife in extreme cold, this album provides a vast array of soundscapes to bring frozen worlds to life, helping to shape narratives, enhance visuals, and capture the many sides of the planet's coldest realms.

FROZEN LAND

Frosted Soul

A Waste Land Companion is, as its title implies, an addendum to Boris Rogowski‘s
album The Waste Land which was released in February 2023 on Piano and Coffee
Records. A meditation on the infamous eponymous 1922 poem by T.S. Eliot, The
Waste Land traces its psychological journey through a barren world in search of lifegiving
water as well as its physical journey through London on the zenith of
Modernism.

During the recording sessions for the album—whose sound is characterised by the
interplay between a string quartet, flute and a collection of specifically created,
deeply warped and tape-weathered samples—over 20 pieces were recorded.
Rogowski had originally intended to use all of them in chronological order, beginning
with the famous part about April being the „cruellest month“. However, it turned out
that a shorter playlist and a strictly musical order worked better for the album.
Rogowski decided to focus on the string-centred pieces to give the album a dreamlike,
hypnotic pull. However, as he valued the shorter, piano-based pieces just as
much, the idea for a companion (mini) album was born almost immediately.

It was a most sensible decision: Chamber gems like „The Hyacinth Girl“ and „A
Wicked Pack of Cards“, mixing English folklore with nods to Richard Wagner’s Tristan
and Isolde, might have gotten lost between the dark, monolithic soundscapes of the
album. Here, however, framed by works for solo piano and harmonium, they are
allowed to shine. A Waste Land Companion begins and ends with two piano pieces
only loosely connected to T.S. Eliot’s poem: „Dear Jessie (to Jessie Laidlay Weston)“ is
an ethereal miniature in reverence of the brilliant English medievalist whose book
From Ritual to Romance, a historical examination of the King Arthur legend, greatly
influenced Eliot while working on The Waste Land. „Universe on a shoestring“ is even
serener, a kind of exhalation after a long and arduous journey. It was the last piece
Rogowski composed during his concluding writing session in the mountains of the
island of La Palma. Here, close to the GTC, the world’s largest optical telescope, the
universe seemed closer than anywhere else on earth—and the grim world of The
Waste Land already a distant memory.

Bandcamp

Jerusalem Athens Alexandria Vienna London Unreal

For Zsuzsa

a great honor for me  http://www.youtube.com/watch?v=VRfaP4ROcQs

no professional aspirations, just entertainment
home recordings just for the joy of music
Everything is based on feelings and moods. No use of AI.
thank you for listening
Thank you all for your comments, because there is always room for improvement
I am still looking, trying and experimenting, I really like electronic ambient for many years, but it only works as a live percussionist. In short, nothing is black or white:)
In today's hectic world I need quiet sounds and the vast majority of songs created at night, so are my compositions such as they are.

My tracks is based on the absolute freedom of the use of sound. Arises as if I painted a picture. In the head is the base, and then adding the details here and there.
As well as if I were his music told the story.

I use: Ableton-Live-Suite with Partnerinstrumets, Kontakt Player + virtual instrumentzs,NI-Machine, Ableton Push, Acces Virus TI Snow, Waldorf Blofeld, AKAI MPK 49, Korg Microkorg XL+,KORG Kaossilator,Kaosspad,KORG Wavedrum, Roland HPD 20, nord lead A1 r, Yamaha mx49, Roland Edirol for Fieldrecordings - and various live percussion.(Kalimba, frame drum, tombak, koshi etc)

moon over the river

Night Note

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