Painted Sky

A kaleidoscope of moods and images invoking a flow through an urban nightscape.

- Music by: Robin Benjamins, @blunt-force-serenity, BluntForceSerenity.com
- Arranged and produced by: Robin Benjamins
- Photograph: "The Night Flame" by Robin Benjamins
 
Key: Eb minor, A minor, F minor
Time signature: 29/16, 8/4
BPM: 80

Instruments:
- Arturia KeyLab 88

DAW:
- Mac Pro 12 Core, macOS 10.1.7 (Catalina)
- Apple Logic Pro X 10.6.3
- Plug-ins: Logic Stock, Spitfire Audio – BBC Symphony Orchestra, Ez Drummer, AIR theRiser
- Focusrite Saffire Pro 40
- Mackie Control Universal

Total Aquarium

Metropolis

An album in neoclassical sound, inspired by Scandinavian mythology and the works of musicians of the 90s. The music in the album tells a story through emotional and atmospheric motives using classical instruments for the genre - string assemblies, flutes and winds.
https://open.spotify.com/track/1GB4dCQVyPScIYLyBNec5Y?si=74bcbf2766544a40

Helluin - Chapter 1.  Spring Rain (intro)

I am looking . I look for the laws. I look for the forms. I look for the left eyes. I am looking for the essence. I look for the promise. I look for the heat, but I only remember this old song.

TRIBE WANTED, I only remember this old song.

3rd track from my new album 'End Theory'. You can find it here...

https://crestofthesyndicate.bandcamp.com/album/end-theory

And here:-https://open.spotify.com/album/4MpN87AfIi4t0ASrmoSzYd?si=nh3p_O07SL2arFMgMTPGNw plus other platforms such as apple, iTunes and so on. So give it a listen :)

End Theory

Spellspring

Musique / Music performance : Christian Levitan
Paroles et chant / Lyrics and vocal : Lukowig

Paroles / Lyrics:

Et les gens pleurent...
pleurent... pleurent...

Comme tout le monde est radieux
tout amour rêve des cieux...
Comme tout le monde erra Dieu
tout amour crève les yeux !

Tout amour mord le cœur
et les gens pleurent... pleurent...
Tout amour meure
ailé j'en pleure...

Un frisson nous parcoure à l'unisson
abassourdi par tes airs polisson
m'enivre tout l'amour que tu m'adresses
tandis qu'autour le monde stresse
s'agresse se compresse s'opresse
se blesse et hurle sa détresse...

Comme tout le monde est radieux
tout amour rêve des cieux...
Comme tout le monde erra Dieu
tout amour crève les yeux !

Tout amour mord le cœur
et les gens pleurent...
Tout amour meure
ailé j'en pleure... pleure...

Seule la haine me dérange
qu'as-tu fais de moi ? Un ange ?
Tu me flattes je ne porte pas d'auréole
et autour le monde se vérole
s'engluant dans le pétrole
se préparant à reposer dans le formol.

Date de publication :
4 novembre 2021

Levitan & Lukowig

Et les gens pleurent

Et Les Gens Pleurent

Here's a fantasy track with piano, strings, flute, clarinet, celesta and some orchestral percussions.
Thank you for listening !

Composition: Julien Apelian
Recording studio: Audio Colors
November, 13th, 2021

Fairyland

based on several tracks by Daphne Oram whose Oramics machine and composition method is nothing but incredible. this Moramics series is dedicated to her.

check https://www.youtube.com/watch?v=mJ08diPUv6A

Moramics Part II

Feedback Madness
Track 1, "From This", 01:04, Soma Lyra 8 + Soma COSMOS + PulDeFilt
Track 2, "Feedback Madness", 02:15, PulDeFilt
Track 3, "Wander", 02:41, Soma Lyra 8 + Soma COSMOS
Track 4, "Uncover", 03:21, Soma Enner + Soma Lyra 8 + Soma COSMOS + PulDeFilt
Track 5, "Leaving", 02:00, PulDeFilt + Soma Lyra 8 + Soma COSMOS


Dates:
26-Oct-2025 (inception), 30-Oct-2025 (finalised), 30-Oct-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/feedback-madness

Description:

Following up an idea on feed back loops, looper cross amplitude modulation with my software based digital modular synthesiser, PulDeFilt; plus analogue synthesisers: Soma Enner, Soma Lyra 8 and Soma COSMOS.


Track 1, "From This", 01:04, Soma Lyra 8 + Soma COSMOS + PulDeFilt:
**************
Records a short Soma Lyra 8 performance, two motifs introduced and recorded into Loops 1 and 2, ready to use in Track 2.


Track 2, "Feedback Madness", 02:15, PulDeFilt:
**************
*(1). This is where is all began. Having recorded two short 11 and 12 second samples from the Soma Lyra 8 from track 1 into loops 1 and 2, it was time to experiment with loops 1 and 2 amplitude modulating (AM) each other.

I wanted to explore the possibilities of dynamic assignment of multiple looper outputs to cross amplitude modulate each other. So I decided to start simple and just cross link only two looper outputs.

The audio signals from looper 1 and looper 2 where then multiplied together, i.e. amplitude modulation. Now to add some spice, after amplitude modulation, this was fed into a delay+feedback+gain block and added back to the looper 1 AM input. This delay was necessary as a technical matter but then later proved to be a useful timbral tool by playing the delay times according to a prescribed discrete set of delay times (as assigned to 8 midi note pads, along with the feed back gain assigned to a rotary encoder of the midi instrument again played by the performer. The discrete delay time tuning was determined by ear, old school style, play one delay time, write that down, play the next delay time that sounded right, write it down and continue, then assign to the tuning library.

Since the original audio from the Lyra 8 was feed into the Soma COSMOS for reverb, no reverb VST was necessary in the digital modular synthesiser, PulDeFilt.


Track 3, "Wander", 02:41, Soma Lyra 8 + Soma COSMOS
**************
A purely Soma Lyra 8 performance.


Track 4, "Uncover", 03:21, Soma Enner + Soma Lyra 8 + Soma COSMOS + PulDeFilt
**************
Here the Soma Lyra 8 played a dual role, firstly as the delay+distortion for the Soma Enner performance and secondly, the Lyra 8 played in it's own right. This was then feed into the Soma COSMOS to layer in and out various motifs and play the Blur and Drift dials. PulDeFilt was used here purely as a mixing console and to layer up performances.


Track 5, "Leaving", 02:00, PulDeFilt + Soma Lyra 8 + Soma COSMOS
**************
After all the hyper activity, a calming finale. PulDeFilt was used to play a pulse oscillator drone through a single delay+feedback block then off to a band pass filter, adjusting the centre frequency dynamically during the performance. This provided the backing for the Soma Lyra 8 performance. The Lyra 8 audio was passed through to the COSMOS for a touch of reverb.

Uncover

In memory of violinist Jennifer Spiwak (1974-2001)

I dream of your dream
Inside a drop
Of rose water on your cheek

Rise with the sun
Rise with the sun
I dream, I dream

Right now, if only for yourself
I believe you will

Nowhere near the sea
On sacred ground
Spread across the tundra
Marching to the vision in our heads

Didn’t you see the North Star shining brightly?
Can’t stop till the goddess calls

"Did you see behind the raging star? 
I will give to you and you will find your heart
So you can bend your eyes
Did you think about the dreams 
The nightmares you had? 
With the sage old lady dancing looking sad 
What she said to you
     'All the light inside is out and outside  is nil 
      It’s a beautiful appearance now and for all! 
      So now you lift your eyes! 
      There is no other way outside!'"


Cold down to the bone
But we’re pressing on
Something warns inside us
Thirteen hundred miles across the E∂

Stay awake until
The frozen river feels our feet
Just think, son, of the goddess
Think, son, of the goddess
No stop till the goddess calls

The Goddess Calls

Dance of the Deserted Spaces is composed using field recordings taken from four different locations across the globe after the Covid-19 outbreak resulted in mass public lockdowns. The sonic character of these places shifted dramatically once stripped of the dominance of human activity and previously hidden aural worlds built from nature, automated machinery, the reverberation of open space and the earth itself revealed themselves.
The piece takes these ‘background’ sounds and give them a stage of their own to dance, converse, expand and exist independent from their relationship to human presence. These normally unregistered noises evolve rhythmically and harmonically in an autonomous celebration
of sound itself.
The idea developed from my last night on duty at the museum I work for in Tasmania, Australia. With the museum suddenly closed indefinitely to the public I walked from gallery to gallery shutting down all but the most basic power and lighting systems and listened as the empty
building revealed a new sonic atmosphere of gentle creaks, air-conditioning and essential plant mechanics. There was a sense of spirit emitting from the vacant architecture and the ever working
but unchampioned infrastructure the allowed these places to be habitable.
The sounds of the museum were recorded that night and form the raw material for Dance of the Deserted Spaces along with field recordings sent to me from a deserted intersection in Brooklyn, the empty auditorium of an international school in Yokohama and the entrance to the Parc des Buttes-Chaumont in Paris.
Ideas of dystopia, harmony, freedom, tension and evolution are explored as the global sounds come together in defiance of cultural classification, revelling in the peopleless space and time.
Life and energy beyond the reductive parameters of humanity and society are given a platform to create a celebratory noisescape of the omnipresent sounds the secretly surround us.

Dance Of The Deserted Spaces

Music and things that might sound like music by Mat Ward. Noise Art/A  Piano and Bass Duet with Dani Kirby/A 50 plus member Art Ensemble called Then She Reaches The Gun/Deep Research Into Luigi Russolo and his Intonarumori .. thats just the stuff I post regularly : ) Thanks to everyone thats ever stopped by. Music is The Best!

Dance Of The Deserted Spaces

No Mates Ensemble