I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
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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.

Bassguitarplayer of DEAR WOLF from march 2022 to december 2024

....since I entered the basement of a doctor's office in Kempen in spring 1991 with my freshly purchased red semi-acoustic electric guitar (Aria Pro II), I couldn't stop making my own noise in musical form.
A mixture of 60's garage punk, noise pop, alternative noise and indie guitar stuff and ska influence my songwriting to this day.

Seitdem ich im Frühjahr 1991 mit meiner frisch-gekauften roten Halbakustik-E-Gitarre (Aria Pro II) den Kellerraum einer kempener Arztpraxis betrat konnte ich nicht mehr aufhören eigenen Krach in musikalischer Form herzustellen. 
Eine Mixtur aus 60´s-Garagepunk, Noisepop, Alternativkrach und Indiegitarrengegniedel und Ska beeinflussen mein Songwriting bis heute. 

Bands in denen ich seit 1991 an verschiedenen Instrumenten mitwirkte und mitwirke: 
Children Of Sahlep (Drums 1991-1993)
Hype (Drums 1993)
The Cooperz (Drums 1993)
Dharma Bums (Bass 1994-2000/2008-2012)
Thee Strychniner (Bass 2003-2005)
Von Hufschmidt (Drums 2005-2008)
King Garage, (Gitarre/Gesang 2012-2015)
The Twangmonkeys (Gitarre/Gesang 2015-2020)
Dear Wolf (Bass 2022-2024)

Jazz mixed with hip-hop by 8 French artists - After Zawichick in 2014 and Colors in 2016, here comes their new EP "Brighter" on May 24th

Management and booking inquiries : contact@loom-music.fr

You can find their social medias and future concerts right here ⤵

Xomh is a guitarist based in Paris, France. He's a musician who is part of a rock band but who also practices solo to release more personal pieces

Instagram: https://www.instagram.com/juliisharp/?hl=fr

JAHM, qui sommes nous ?

A la base, nous sommes 4 ami(e)s réunis autour d'une même passion : LA MUSIQUE ! Nos influences se croisent entre rock, stoner, métal, punk et rap. À vrai dire, on a passé tout ça dans un mixeur et JAHM fut créé !

(J)ordan : Paroles, Chant

Le plus jeune, le plus dynamique et presque le plus grand d'entre nous ! Jordan a commencé son parcours musical derrière une batterie. Mais il a délaissé ses baguettes pour un micro. Il brille maintenant derrière la plume et le micro du groupe. Des textes en français pour que tout le monde comprenne qu'on ne déconne pas. Pas de chichi en anglais. Et en parlant d'anglais ?... 

(A)lexandre : Guitare

Le plus grand et le plus vieux (sage) de la formation, c'est aussi le plus british des français ! Racine normande oblige, il voue une adoration pour le rock anglais (et ses excès) et est notre guitariste rythmique et soliste. Et oui, il a quatre bras ! Si nos compos sont aussi longues, c'est grâce à lui !


(H)élène : Batterie

Sans aucun doute la musicienne la plus complète du groupe, notre artillerie lourde ! Au son de ses fûts, on peut sentir le punk et le stoner transpirer. Un écho à sa tendre jeunesse. Ses rythmiques vont vous faire bouger les pieds et les cheveux ! Elle prend aussi sa gratte pour nous sortir des riffs bien lourds et des mélodies bien poussiéreuses !


(M)agali : Basse

Le pilier groove du groupe ! Notre basse n'est pas reléguée à une simple rythmique mais a toute sa place dans nos compos. Preuve en est, les breaks et slaps qu'elle dissémine un peu partout !

Buddy Olli plays guitars, bassguitar, drumset, keys and sings. Influenced by Garage Punk, Ska, Northern Soul, Sixties Psychedic Freak Beat, LoFi, Early Grunge & Indie-Noise-New Wave Power Pop & Americana, Indiefolkrock & Alternativ Country. 

Write to info@makerockandrollnotwar.de

https://www.makerockandrollnotwar

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