Alchemical [Fusion] is a haunting progressive rock epic that conjures the eerie specter of nuclear annihilation. The song's narrative is woven from the words of J. Robert Oppenheimer, who famously declared "I am become Death, destroyer of worlds" as he witnessed the first atomic blast. The track's haunting harmonies and driving rhythms evoke the apocalyptic consequences of nuclear war, as eerie audio clips from Harry Truman's announcement of the atomic bombings of Hiroshima and Nagasaki eerily underscore the song's themes. Through a maelstrom of soaring guitar solos and pounding drumbeats, "Alechmical [Fusion]" probes the dark heart of humanity's most devastating creation, leaving the listener to ponder the devastating consequences of our destructive potential.

Alchemical [Fusion]

Inspired by the microtonal Iranian music mode Bayat-e Zand.
Listen on headphones or stereo speakers.

Chilling in the Middle East

Keys In My Blood

135 INDIE MONTRÉAL ROCK.

I am not a religious person
Happy New Year! 

Come gather round people
You won’t believe the news
The war has ended
And there is peace on earth, it's true!

The people made their stand
Arm in arm, and hand in hand
And there is freedom in our land

No more poverty and greed
No more homeless in the streets
No more leaders telling lies
No more borders to divide 

All the world has become one
And we’re righting all the wrongs
Can’t you hear the song
And angels sing above
Songs of grace, songs of love
And it gives us hope again
As they sing their sweet refrain
Throughout the land

“Peace on earth to everyone”

Peace On Earth (Christmas '24)

Emerald Spiral - Valentino

method: guitar, pedals, voice, audacity
narration: just what the poem says (okay, offering a clue to toying with the clew: there is light - lux - as the main topic here, things you can and cannot perceive, that might and might not be at all - beyond mere appearances. Remember, however, how a haiku works - surprise overcomes you in the last line, not the one before that which still sets the natural and supernatural scene, no matter the momentum of tension it builds! - ... and, of course, a bow to a certain British poet's perspective on totemism might be in the cards as well ;-)
image: copyright jo richter ... using the illustration on a packaging container  used to transport guitars

poem/ copyright jo richter:

in winter's midlight
crow's crystal inverse shadow
lifting fingered feet

luxury

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)

synthphonics

01 - SA - LABS - London Atmos - Hackney Angels
02 - SA - LABS - London Atmos - Broken City
03 - SA - LABS - Soft Piano
04 - SA - LABS - Amplified Cello Quartet - Tremmy

London Atmos [Labs]

www.youtube.com/@noxpox
account 19 is full now!!!  welcome to  https://soundcloud.com/noxpox20
a day with a composition is a good day!!!

the community is awesome , thanks a lot, friends!!!

synthphonics

noxpox

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