Magi©ian™ (Making music make a difference)

It was one of those horrible Low sky/rainy/ cold winter mornings . And I just thought " i really live too far from the sea ". Light isn't it ? :))

Trop Loin De La Mer (Too far from the sea)

Garageband keyboard sounds
Yamaha Tenor Saxophone

New <insert choice of word>

Music by Kontra Sz & Val Akey.
- Kontra Sz: plays rythm guitars, lead guitars;
- Val Akey: drums-, bass- and keys programming (mixing and mastering) + cover art.
Many thanks Kontra Sz for the fantastic guitar play! https://soundcloud.com/kontra-sz

Release date:
12 January 2024

Captive Of Time (collab)

FULL VIDEO ON YOUTUBE: https://www.youtube.com/watch?v=NOOV9t_3sEo
“NOTHING TO LOSE is the 3rd song with the saxophone support of soulful, wonderfully gifted saxophone player Joko Magic (Hanna M.). We have the other two songs "Traffic" and "A Love Revival" in the style of smooth jazz, funk soul and retro RnB - and now we are releasing song number three in this style! 
NOTHING TO LOSE has been the mantra for our Moon and Aries musical journey from day one. To take risks and to go all in. Because there is much more meaning and good stuff when you do so. You win no matter what, when you honor your deepest passion and embrace a huge reason why your eyes open every morning.”

PS: With another visual artistic collaboration with the amazing "carainaae" back with her brilliant pen work for this cover art!

Resolutions & Revolutions

Nothing to Lose

NOTHING TO LOSE

Magic Box

Jellyfish Palace

Portal To Another World

PS Perkins: Guitars, bass, lyre, vocals
Ron Thomas: Autoharps, Drums

Production notes:
---------------------------------------------
Very early on we wanted to use autoharps on this song to create a sort of swirling backdrop, reminiscent of the harps in Indian/Bollywood soundtrack songs of the seventies.

Right away there were challenges because the song is in B flat and is not wholly diatonic to begin with, utilizing a chord built on the augmented lydian scale in the choruses. So rather than transpose the song to a more amenable key (since the chromatic bits weren't going to work no matter what key we used) we instead re-tuned the autoharp. Moving through the strings one by one we tuned them either up or down a half step where applicable to bring them into key. Where the augmented chord hit in the choruses, we excluded those notes so that the autoharp was filling the diatonic parts of the chords and omitting the accidentals. It took us several tries to get it right. In the end we arrived at a chord progression that could be strummed on the autoharp and the modified chords could be played with existing dampers.

We also tuned the lyre so that the top half of the strings included the chromatic augmented notes while the lower register of the lyre was tuned using the diatonic, so the lyre could play the melody all the way through both parts of the song.

The inspiration for this song was essentially fourfold:
--------------------------------------------------------
First, H.P. Lovecraft's terrifying necromancer Joseph Curwen (from "The Case of Charles Dexter Ward") who masked his true identity in order to thwart suspicion from his fellow townsfolk. He has many secrets lurking in his underground catacombs where he performs acts of necromancy most foul, extracting the "salts" of the dead in order to raise them at will and learn the secrets of ancient eldritch deities.

Second, a poem by Rudyard Kipling titled "En-Dor" which was a warning against the rise of spiritualism and the cost of communion with the dead in the early 20th century.

Third, the biblical Saul who traveled in disguise to visit a witch at the city of Endor in order to summon Samuel from the dead and garner advice on defeating the Philistines, but who only prophesies doom for Saul. Saul dies later the next day in the battle of Gilboa.

Lastly, the story of Odysseus communing with the underworld where he enlists the help of Tiresias to have a chat with the dead and secure for himself a safe journey home.

They all seek communion with the dead for one purpose: to gain knowledge which only those who have crossed over between realms might possess. 

Lyrics:
-------------------------------------
A mask may reveal what it’s meant to conceal
From those who are standing beside us
Armor of pride, so we learn to abide
By the monsters which hide deep inside us
The monsters which lurk deep inside us
Oh, how they scratch and they bite us
The monsters which lurk deep inside us

Only to know what the professor knows

Eating black bread, wearing clothes of the dead
The soil soaked in honey around us
For fear if we failed, leave the ogre unveiled
And it’s back in the grave where they found us
Back in the grave where they found us
Freed from the ties which had bound us
Back in the grave where they found us

Only to know what the professor knows

In the catacomb vaults, we extracted the salts
From cadavers to lengthen our youth
Chanting the names at the edge of the flames
And a mirror to show us the truth
A mirror which speaks only truth
See how it seeks not to soothe
A mirror which speaks only truth

Only to know what the professor knows

In the underworld maze, in the night of no days
Concocting the plan we’re devising
Much to endure on the road to En-Dor
And to snatch from Elohim arising
To snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising
Snatch from Elohim arising

BARDS:Of The Shimmering Seraphs

The Professor

Bass guitars : Franck Leconte 
Drum Prog, Keyboards, Guitars and Vocals : Rino Lauciello 

Mange bien Franck

Bruno Cadillon (https://soundcloud.com/bruno-cadillon-847608847) proposed to me to write the lyrics turning into a song an instrumental track I had just uploaded to Soundcloud (Timelines, here: https://soundcloud.com/michele-ansani/timelines-final-draft). 
And here we have the song (see also https://soundcloud.com/bruno-cadillon-847608847/comment-fais-tu-ca-michele-ansanicab): is dedicated to Pierre Bonnard, a French painter (1867-1947) of the Nabis group, a post-impressionist movement. 
Thanks to Bruno - the piece is sung by him -, a true and versatile artist.
Cover picture: Pierre Bonnard, La porte-fenêtre ouverte (1921). The Phillips Collection, Washington.

LYRICS

Commet fais-tu, ça, Pierre
Donner tant de vie
Commet fais-tu, ça, dis 

Derrière ta fenêtre
Il y a
Tant de couleurs claires
Tant de joies
Comment fais-tu ça, dis
Comment fais tu ça

Tous ces paysages  
Que tu voies
Ces chaises bancales
Cette simple table
Couleur sable

Toute cette douceur
cette chaleur
cela nous traverse
Nous transperce

Rester là peut-être
Que le temps s’arrête
Derrière ta fenêtre

Commet fais-tu ça pierre
D’un trait de lumière
Donner tant de vie

-----

How do you do that, Pierre
giving so much life
how do you do it, say 

Behind your window
There are
So many bright colours
So much joy
How do you do it, say
How do you do it

All these landscapes  
That you see
These wobbly chairs
This simple table
Brown and sandy

All that tenderness
all that warmth 
it goes through us
it pierces us

Stop there
maybe time may stand
behind that window

How do you do it, Pierre
To give the desire
How do you do it, say ... 

How can you, Pierre
With a stroke of light
To give so much life

------

Lyrics by Bruno Cadillon (2024); music by Michele Ansani (2022).
Posted on SoundCloud: 2024, July 6.

Comment fais-tu ça [Michele Ansani & Bruno Cadillon]**

RPR09_04

Hi There,

Another Trancy progressive Track !
Love to work in this Style & wish you a pleasant Listen !

Have a great time !

Peace,

Andreas

Regenerating matters

Néfertiti

Velvet Crossfire

"This song feels like a late-night conversation you don’t want to end — the kind where every glance and every pause pulls you in a little deeper. ‘Side to Side’ is about that magnetic pull between two people, moving closer without even realizing it."

Skin to Skin

The Story Of You And Her

Heavy Punk Rock 'n' Roll band turns into Synthwave nowadays! Brand NEW album "Ultraviolet Cosmos" available NOW!

MOON AND ARIES is a genre-defying, retro-futuristic music duo creating emotionally immersive soundscapes that blur the lines between synth-pop, chill electronica, cinematic soul, trip-hop, and jazz-infused lounge. Combining poetic lyricism with lush production and smooth vocal interplay, their songs feel timeless - yet unmistakably modern. 

Driven by their shared passion for storytelling through sound, Moon and Aries deliver music that connects on a deeply human level. 

Their catalog explores universal themes: 
transformation, empowerment, longing, healing, and spiritual awakening. Whether it’s a quiet moment of self-reflection, a triumphant personal shift, or a love scene that needs to glow from within - Moon and Aries provide the perfect sonic companion. 
Each track is built with sync in mind: strong emotional arcs, memorable melodic hooks, dynamic instrumental sections, and vocal textures that range from intimate whispers to anthemic declarations.  
With a sound often compared to artists like Sade, A-ha, Portishead, Depeche Mode, and Massive Attack, Moon and Aries offer a sonic palette that blends nostalgia with new-world 
optimism - ideal for storytelling that needs depth, mood, and meaning. 
All songs are 100% one-stop and available with full mixes, instrumentals, stems, and lyric sheets.
 
Genres: Retro-Futuristic Pop, Synthpop, Trip-Hop, R&B/Soul, Chill Electronica, Cinematic Soul, Electro-Jazz, Electronic, Retro wave, 80s 

MELODY MEETS MEANING! www.moonandaries.com

NOTHING TO LOSE

MOON AND ARIES

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