We are pleased to present track 2  from our new album, 'Haunting One Seven,' full album available on Bandcamp, we hope you’ll enjoy!

outstation.bandcamp.com/album/haunting-one-seven

Haunting One Seven

Free And Easy

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

Never mind the cheese - this is the bollocks. The Recursives give The Undertone's classic some welly - captured live at The Hand pub in Llanrhaeadr-ym-Mochnant
Al - lead vocals and bass
Bri - backing vocals and tambourine
Neil - backing vocals and drums
Tez - guitar

Teenage Kicks -  The Recursives

Asedio

noxpox - Why Are They Afraid Of Freedom?

Moon Tales (Instrumental)

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

13-4-2025

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N!GHTvisiøn & Nxxkz - ECLIPSE (SUPER SLOWED)

N!GHTvisiøn & Nxxkz - ECLIPSE (SUPER SLOWED)

ears 2.1 SH 75 bpm take 1 71825

Gravel 2 90 bpm august 17 take 1

my accounts noxpox page 17,19,20 are blocked and deleted now...
how it seems...sorry for the hassle 
so i deleted something and restart the running collab from here from page 16 
https://www.youtube.com/@noxpox
i can only handle the last two accounts frequently, so unfollow the old accounts if you like.

 i don't take that pic seriously! Anonymous rulez!
WELCOME TO OUR NEW ADVENTURES!
new album out on bandcamp: 
https://noxpox.bandcamp.com/album/further-steps-into-the-endless

Collabs welcome just PM me! The same for stems!
i can't bite through the internet so don't hesitate to ask ;)

i only manage the last two accounts, so you can unfollow the old accounts if you need space. New Material will only appear on the last account ;)

a big thank you to this great community!

noxpox - Why Are They Afraid Of Freedom?

noxpox (page 16)