wow Patrick, very stimulating to my ears. Give me the chills. This is music out of the box.   You too know how to awaken senses my friend! Amazing work!

ok now I know why you liked my Mystic Land 😂😂 you love the noise!!!!!!!! 💕🤩

This shaked every sense in my body!!! Congrats 👏🎉

checking back in for a refresher--this song is so interesting and complex , it always seems brand new:)

Ingenious, experimental electric guitar session. Wonderfully magical and transparent. So much creative noise!  🪐

Related tracks: C'est Un Trou De Verdure Où Coule Une Rivière (It's a green hole where a river flows)

Recorded in 2023
Released in November 2023

Home-Wreck

sonic and rhythmic exploration of my noisy electric guitar solo.
visual: extract of one of my recent abstract painting in colors.

DANS L'OMBRE DE MA GUITARE  PATRICK PICAULT

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)

Jellyfish Palace

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

Roar (or Get Up On Your Hind Legs)

New album at https://pyrk.bandcamp.com/album/pyrk-5

Komar Lata, Woda Mknie

where the playground once stood

Drifting away

a sense of anticipation emerges

impromptu 2025-04-18

method: most of the pre-takes done with a reface dx and oyayo toy drums, later stretches in audacity, voice in balabolka and rearrangement and editing in samplitude (also adding bubbling bass voice, clicks and further elements)
Narration: it is the evening of the day …. the serenity of the song by the Stones, coupled with recollectioms of events, i.e. exploring tensions, delayed dis- and resonances and so on and so forth
image: guests at my doorstep, copyright jo richter

sip /copyright jo richter:

drinking patient sap
from a fragile cup
he salvaged today's silence

Cinematic audio tapestry woven with mystery, emotion, and transformation.  

Detachment By Mark Mori:
The current pulls me, The waters murmur and devour.
I fight — But my arms grasp emptiness. The shadow waits, watching.
Then it appears: L’Insaisissable, No shape, no form, just presence.
"Ne retiens rien," it whispers, And I become the water.
An endless stream, I flow — No struggle, no fear, Only the flow.

https://markmori.bandcamp.com/track/detachment

Detachment

method: some of my sonic prep can be seen here: https://www.instagram.com/reel/DJwfUwDMhl8/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
narration: Simplicius' point of view, not jason's for sure
image: taken in a museum in Athens, Greece, 2012, copyright jo richter

poem / copyright jo richter:

the morning creaked
on rusty hinges
not prone to please
on fraying fringes

midday soaked
with vain ambition
the argo, the fleece
a hero's contrition

the evening balked
away from the night
the numbers chalked 
didn't add up right

and in the dark
and in the dark
their widows cried
their widows cry

and in the dark

~FIGHT, OR BE FORGOTTEN~

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

DANS L'OMBRE DE MA GUITARE PATRICK PICAULT

Patrick Picault

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