Almost Halloween again, but I'll say it one more time anyway.
We have one planet, where we all live. No one can escape anywhere from this tiny speck of dust in the universe.

Then it is so incredibly unimaginable that people in so many countries renounce their dignity and their human rights to pay tribute to tyrannical leaders. Leaders who commit virtually every crime that can be committed against people in their own homeland.
They have trampled, oppressed, imprisoned, forcibly relocated, put in re-education camps, imposed coercive laws, tortured and even murdered.
All just to maintain power and remain with their arms in the meat pots, in some kind of smug "I am god" madness that trumps everything. And some of them even see themselves as the rulers of the world in their delusion.
It's laughable if it weren't for the deep seriousness and suffering it causes many people in many parts of our world.

Throughout history, we have seen one lunatic crazier than the other rise to power through these completely absurd behaviors towards his people. And I cannot for the life of me understand how it can go on and on and on.
Is humanity so stupid? Obviously. Including myself according to the wishes I express here below.

I sometimes wish that all these ghosts from both history and the present revolted. And in a tidal wave, washed out all these elements and ensured that human evolution took a big step forward so that in the near future we could at least be called civilized.

But maybe that's the problem. That we who want to change use the wrong weapons, and thus fall prey to war and violence instead of development.
If there were more of us who used the pen as a sword, who used the guitar as a machine gun, drums and cymbals as artillery. Wrote, sang at the top of our lungs and told about the reality around us........

Well, many famous musicians have already done it, throughout the ages. Did it help?............ Well.....not so much........

So if we.....mumble........hmmm.......mumble.....hmm....mumble.......

Wha...what did you say?.........Oh crap, not another lunatic,..... again..........

I SEE GHOSTS! AROUND ME! EVERYWHERE!

isn't that a bit strange...;)

Seagull - Ghosts

Afeitao Banao Y Perfumao Ariel En Bicicleta

A Tinge Of Elation

"Route 66" by James Lawrence Nesser

There are hundreds of covers of this classic, written by Bobby Troup in 1946 and first recorded by Nat King Cole that same year.  Here is one more, a version that is influenced by a number of different artists, but mainly by The Rolling Stones on their self-titled 1964 album.

Fender Tele
Epiphone Casino
Epiphone Viola Bass
Addictive Drums 2

Route 66

"Route 66"

Prismatic

A short venture into atonality after a long sojourn in the tonal sphere. Instrumentation: Harpsichord Celeste Horn Tubular Bells and oboe and Base Clarinet

Atonal Tune

Finding Solice

The Starkind Entity

Body Talk

This track is part of Athenian Truckstop Issue #4 Songs for Dreaming release, found here:
https://atheniantruckstop.bandcamp.com/album/issue-4-songs-for-dreaming

The theme was dreams

https://soundcloud.com/douglasmseidel: banjo, bass, beans, drum, cowbell, gong, organ, other stuff, penta guitar, toy piano, water jug 

todd: drumset, crow call, percussion, semi-modular, voices, whistling, words



it started with a plastic 24oz jar 
half filled with foamy yellow liquid 
and some very sticky residue at the top

tom of tom and jerry
fame
had one broken ear
he was sitting on the ledge 
of the garage window

I can’t remember what I was doing

but I know I was wearing a 
poultry keel necklace
that laid so elegantly 
over my clavicles

every thought 
every measure 
gets bigger and faster 
and further from the next

plumb shucks said to thumb plucks 
untuck that loose end of the dumpling lover
and wrap some warm rising dough around your head
dumb luck kept ducking under the fun chunks 
until he realized he was bouncing on a shingle instead
he said that’s some kinda skipping slip of the bliss bud

chimichuck said to raisin brains

wrench mouth woman has a heart in her throat
with the wave of her stick arms she weaves me a coat 
the birds that are flying carry sticks to her breast
crescent wrench moon lucky charms and the rest

sticky residue

François TAMBY:  musique
Aline T: chant lead, voix et choeurs

CIACCO-Moon Child[cover King Crimson]

The 3rd movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

III 'Evocation I' - The Celestial Palace (1989)

Paul Max Edlin's music is published by Composers Edition. 

Paul Max Edlin, 2016/2017 Composer in Residence for the London Chamber Orchestra, has a career that combines composing with higher education, artistic direction and performing.  

His works have been performed by many leading artists including Alison Balsom, Arditti Quartet, Britten Sinfonia, David Campbell, Cantus Ansambl, Dame Sarah Connolly, Dame Evelyn Glennie, Rolf Hind, Johannes Möller, London Chamber Orchestra, London Sinfonietta, Olga Pasiecznik, Psappha, Silesian Quartet, Southbank Sinfonia, Gabriella Swallow, John Wallace and The Wallace Collection and Bede Williams. 

He studied with Edwin Roxburgh, Richard Blackford and Joseph Horowitz (Royal College of Music) and Michael Finnissy (University of Sussex). He has won many prizes including Premio Internazionale Ancona, Harriet Cohen Memorial Award and United Music Publishers Prize. His music explores symbolism and often derives its inspiration from extra musical material. From the mid 80’s to mid 90’s many works were inspired by the art and architecture of South-East Asia, especially Indochina. From 2000 onward symbolism of a wider range of sources guided his music, from the chiastic structures of J.S. Bach to the writings of Gabriel García Márquez and Federico García Lorca and visual work of Frida Kahlo.

Paul Max Edlin is former Director of Music at Queen Mary University of London. He was Artistic Director of Deal Music & Arts (formerly Deal Festival) from 2004 to 2021, Sounds New (2007 to 2013), Director of International Composer Pyramid (2008-2013) and was founding Chair of the Board of Trustees of Ora Singers. He is current Executive Chair of W.E. International Music Festival, which brings eastern and western cultures together.  From 2012 to 2013 he was President of the Independent Society of Musicians (ISM), the UK's leading association for professional musicians.