Just like "Analog Funk", the foundation of this song was developed by Impulse, who supplied some of sounds through the Arcade plugin. These particular tracks were later condensed into a single .m4a file, a process that took multiple attempts to complete. This alleviated the need to download the Arcade plugin onto my computer but also came at the expense of restricted control over individual instrument parameters. Granted, this was a sacrifice we willingly made.

I asked Impulse to record Digital Funk at a slightly faster tempo than Analog Funk to reflect the hurried nature of the digital world. On my end, I restructured some chord changes and section durations and carved out brand new passages for more variety.

Impulse: synth and bass programming, samples, songwriting, arrangement

Sinny: synth, bass, and rhythm programming, nose whistle, kalimba, Wavedrum, octo-snare cajon, djembe, talking drum, tambourine, maracas, jam block, samples, arrangement

Digital Funk

I've been in love with making slow synth covers of songs, here's another late night version of a classic: Mr. Blue by the Fleetwoods, released in 1983

Lyrics: 

Our guardian star lost all his glow
The day that I lost you
He lost all his glitter the day you said no
Now his silver turned to blue

Like him, I am doubtful that your love is true
But if you decide to call on me
Ask for Mr. Blue

I'm Mr. Blue 
When you say you love me 
Then prove it by goin' out on the sly
Proving your love isn't true
Call me Mr. Blue

I'm Mr. Blue 
When you say you're sorry 
Then turn around, head for the lights of town
Hurting me through and through
Call me Mr. Blue

I stay at home at night
Right by the phone at night 
But you won't call
And I won't hurt my pride 

I won't tell you 
Why you paint the town 
A bright red to turn it upside down
I'm painting it too
But I'm painting it blue
Call me Mr. Blue 
Call me Mr. Blue 
Call me Mr. Blue

Mr. Blue

Slippery slope

Dear friends,
to the people of Afganistan!
This song might be a fiction, but is it from real life......??
You get so very sad when you see pictures of faces filled with fear, confusion and sadness!

Confused

I recently heard about
some folks who confused are
They don’t know what to do these days
should they stay in their home, or can they go out
and what clothes can they wear, maybe not what they have
and the shops in their towns are closed down

I heard that the girls and their moms
must change their lifes from now
they are also afraid of the guys
who are patrolling the streets all the days and nights
can the girls see their friends and can they go to their schools
that is a big question that they have

Their country is ruled by pious men
at least it is what these men say
and the future will show if they are right
and the world wish You luck - we will think of You
that You all will be safe and be treated with respect
and that You folks will have a pleasent life

 Approximate translation into Swedish
Förvirrad
Jag hörde nyligen om
några som är förvirrade
De vet inte vad de ska göra nuförtiden
ska de stanna i sitt hem, eller kan de gå ut
och vilka kläder kan de ha på sig, kanske inte vad de har
och butikerna i deras städer stängs

Jag hörde att tjejerna och deras mammor
måste ändra sitt liv från och med nu
de är också rädda för killarna
som patrullerar på gatorna alla dagar och nätter
kan tjejerna se sina vänner och kan de gå till deras skolor
det är en stor fråga som de har

Deras land styrs av fromma män
åtminstone är det vad dessa män säger
och framtiden får visa om de har rätt
och världen önskar dig lycka till - vi kommer att tänka på dig
att ni alla kommer att vara trygga och behandlas med respekt
och att ni får ett trevligt liv

Confused

Originally recorded this in 2017 but I learned a thing or two about mixing and mastering since then. Also I have better tools to perform said mixing and mastering more adequately. So I went back to the recording and fixed the drums, guitars, bass, vocals, overall mix and mastering treatment.

Especially this track for the run at the time was in need of it (I am happy with the other tracks for the most part).

enjoy!


lyrics

firing shots into the unknown
already lost inside a dead zone
no walls at all to run into
no prayers and thoughts that can reach you
a realm of fading memory
like slipping away under the sea
with a side of anxiety

forever life under construction
poised to rake the interaction
the fallen cry to reroll dice
but it all went down with the other lies
and none to witness the sacrifice

❤️ @Bandcamp

Long Shot (2021 remix)

Avi Loeb is no stranger to controversy. The prolific Harvard University astrophysicist has produced pioneering and provocative research on black holes, gamma-ray bursts, the early universe and other standard topics of his field. But for more than a decade he has also courted a more contentious subject—namely, space aliens, including how to find them. Until relatively recently, Loeb’s most high-profile work in that regard was his involvement with Breakthrough Starshot, a project funded by Silicon Valley billionaire Yuri Milner to send laser-boosted, gossamer-thin mirrorlike spacecraft called “light sails” on high-speed voyages to nearby stars. All that began to change in late 2017, however, when astronomers around the world scrambled to study an enigmatic interstellar visitor—the first ever seen—that briefly came within range of their telescopes.

The object’s discoverers dubbed it ‘Oumuamua—a Hawaiian term that roughly translates to “scout.” The unavoidably cursory examinations of this celestial passerby showed it had several properties that defied easy natural explanation. ‘Oumuamua’s apparent shape—which was like a 100-meter-long cigar or pancake—did not closely resemble any known asteroid or comet. Neither did its brightness, which revealed ‘Oumuamua was at least 10 times more reflective than one of our solar system’s typical space rocks—shiny enough to suggest the gleam of burnished metal. Most strangely, as it zoomed off after swooping by the sun, the object sped up faster than could be explained by our star’s waning gravitational grip alone. Run-of-the-mill comets can exhibit similar accelerations because of the rocketlike effect of evaporating gases jetting from their sunlight-warmed icy surfaces. But no signs of such jets were seen around ‘Oumuamua.

To Loeb, the most plausible explanation was as obvious as it was sensational: taken together with its possibly pancakelike shape and high reflectivity, ‘Oumuamua’s anomalous acceleration made perfect sense if the object was in fact a light sail—perhaps a derelict from some long-expired galactic culture. Primed by years spent pondering how we might someday find evidence of cosmic civilizations in the sky’s depths, he became increasingly convinced that, with ‘Oumuamua, the evidence had instead found us. In late 2018 Loeb and his co-author Shmuel Bialy, a Harvard postdoctoral fellow, published a paper in the Astrophysical Journal Letters arguing that ‘Oumuamua had been nothing less than humanity’s first contact with an artifact of extraterrestrial intelligence.

The paper has been a smash hit with journalists but has fallen flat with most of Loeb’s astrobiology-focused peers, who insist that, while strange, ‘Oumuamua’s properties still place it well within the realm of natural phenomena. To claim otherwise, Loeb’s critics say, is cavalier at best and destructive at worst for the long struggle to remove the stigma of credulous UFO and alien-abduction reports from what should unquestionably be a legitimate field of scientific inquiry.

The observations suggest this unusual object had been wandering through the Milky Way, unattached to any star system, for hundreds of millions of years before its chance encounter with our star system.

“For decades we’ve theorized that such interstellar objects are out there, and now―for the first time―we have direct evidence they exist,” said Thomas Zurbuchen, associate administrator for NASA’s Science Mission Directorate in Washington, in November 2017.

Immediately after its discovery, telescopes around the world, including ESO’s Very Large Telescope in Chile, were called into action to measure the object’s orbit, brightness and color. Urgency for viewing from ground-based telescopes was vital to get the best data.

Oumuamua (First Contact Album Version)

So happy to release this one! It's a beautiful and soothing orchestral piece AND it's my 200th uploaded song!! :)

Enjoy!

Starchild

Another track for this album this time in a colder setting, exploring more bells and different synths on Komplete Kontrol as well as Logic. 

Photo courtesy of public domain pictures at https://www.publicdomainpictures.net/en/view-image.php?image=153291&picture=winter-fantasy

Tillota's Tundra

Morphine dulled the pain but he never recovered his true soul

Bela's Tears

Improvisation by the collective Passierzettel in Hamburg featuring Thomas Siebert - Keys, I-Pad, Percussion, Bass; Hannes Wienert - all kinds of wind instruments; Sven Wulf - Bass; Martin Pozdrowicz - Drumming, Sampledrumming. Recorded 14.11.2013.  Small extracts.

Passierzettel - 2013.11.14 Extract 2

After working with some very talented artists recently, I guess I needed to prove to myself that I could still work alone & write new things. Hence, 'Red Zero', which is not exactly house, nor dance, nor pop. In fact, I have no idea what it is  but I hope you like it and play it LOUD!

Play on Spotify now!

Red Zero

A collection of all the stuff which is created in collaboration with different musicians. Visit also my first account @PoProPo, my free improvising trio @gustav-kunst-trio, and my collab partners 
@bitzone, 
@musicmike-1, 
@darius-improvise, 
@wild-flowers-project, 
@zpl, 
@groggy-arsten, 
@midipunk, 
@almofada3
@uncle-clatterbox.
@letterfounder
@passierzettel
@janne-nummela
@henry-koek
@vincentbergeron
@brass-lines
@nealretke
@moondingos
@gaston-sobalvarro
@yamanyaman
@augenmerk
@rudzupke

  ... to be continued

Passierzettel - 2013.11.14 Extract 2

Posto Goes Collab