Memory Of A Day

Mooky Musik is the alter-ego and independent artist name of folk singer-songwriter, producer, musician, Michael A Smith.  
Mooky Musik Recordings is an abstract art concept of singer-songwriting, film making, digital abstract art, and photography,  produced for social media platforms including soundcloud. Please follow links in these soundcloud links  and follow if inspired. Mooky Mooky Recordings is colaborated  and created by independent artists, abstract artists, musicians, and songwriter-producers
film makers, all  facilitated by Michael A Smith.

Mooky Musik Recordings songwriting and producing music concept was firstly created on Soundcloud in 2011 to help Michael as music therapy for always  being in recovery as an ex-addict and to help other  musicians in recovery and suffering with their mental health help with drug addiction and also inspire ex-addicts to make music as self-therapy!

Mooky Musik Recordings
Mission Statement:

Michael is on an ongoing music journey of self discovery and recovery from 1996, by songwriting and  producing music for self-therapy, and to help inspire others who are suffering in silence from drug addiction, mental health problems and symptoms as a coping mechanism in recovery!
In 1996, at the age of 19 years old, Michael suffered from drug addiction and drug induced pschosis and spent 10 weeks in rehab. 
It was the most traumatic experience of his life as an aspiring artist and songwriter-producer.

Michael A Smith is on a mission is to inspire others to healthy addictions like listening to and making music, helping inspire others to  cope with their mental health symptoms as musicians to help guide them to their own birthright of inner-peace, mental wellbeing to make music for self-therapy and to potentially treat their diagnosis alongside a mental health treatment globally! 

Credits:

Mooky Musik - Sunrise Album  was produced by Michael A Smith and Jules Dickens, aka Abstract Source abstractsource.co.uk

Music production for Sunrise  was produced by Jules Dickens, aka Abstract Source at Abstract Source Studios London.  
abstractsource.co.uk  
soundcloud.com/abstract-source 

Dan Compton, a guitarist, keyboardist 
Composed Circle Puller and co-wrote some lead & rhythm guitar parts on my Cloud 9 EP and Sunrise EP's.
Abstract Sun was co-produced by Mooky Musik, aka Michael A Smith. 

My brother Andy Smith played keyboards & bass guitar on: Rhythm Of Life.

All lyrics  besides - Our Love, Rhythm Of Life , Modern Medicine, Solitude,  Always searching & Our Love, were written by Dylan Ross - Poet  my favourite poet check out Dylan Ross - Poet on Facebook or Google. Dylan is a member of a band I play in and composed music for and played guitar. It's called Three for Tenpound on Soundcloud. Check out Bobby Nomad 3for£10. 

Dylan Ross-Poet also writes his own songs  and sometimes goes by the name Unruly Duvet on Soundcloud.

All songs and lyrics are copyrighted thanks to Soundcloud ai technology and the UK music industry's copyright system.
Mooky Musik  was mixed & mastered by producer, mix & mastering, Sound Engineer, Wes Maebe on the Mooky Musik - Sunrise Album 

Check out Wes Maebe's website for more details on wesonator.com
If you like my sound, I highly recommend employing Jules or Wes to record & produce your music :)

Vocals only were also recorded by Wes Maebe on the Mooky Musik - Sunrise Album 


Sending love to all Neurodivergent  Musicians globally  lwho love to make and listen to music, perform and share it with others to inspire them to do the same for sel-therapy

"Life exists for the love of music & beautiful things."

Peace & love to all who love life and healing with making and listening to music!

https://phantogram.komi.io/

Move In Silence feat. @bigboi Out Now 

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Memory Of A Day

PHANTOGRAM