
First time in harmonic minor. Begins with the classic theme and superimposed chords on the 3rd and 5th on your right speaker. I had to give the mixer (unlimited revisions) some degree of freedom. I would have done it 1 sweep to the left  and 1 right. For each section some theory use. So 1st verse, the violins are playing lydian b3 cos’ the vocals sounded empty on it’s own and I wanted some ‘out of the box’ stuff. The chorus ends on D7 which is an outside chord. That was a chord I accidentally hit on guitar and when it returns to Eminmaj7 it’s a deceptive cadence. Double harmonic minor and whole tone on 3rd degree for the trumpets. The ‘through the gaps part’ I did on 5th improv. Wasn’t happy with the chorus I had written and just improvised over the chorus on Logic. That’ s some of my best flow. 2nd verse I did counterpoint for Bond motif. 2nd chorus, the first line you hear was taken from my original improv. It sounded more fitting as the start of a chorus. I had to write an extra violin line for the chorus to keep it aligned with my ‘every chorus line has different orchestration’ philosophy. The bridge has the drums in mostly half time as well as beginning in the key of G. First time I placed a secondary dominant in the middle of a phase cos’ usually I put it at the end. Then, a chromatic chord sequence. Last chorus I complete my strings cos’ I had violins 1/ 2 and I thought I’d finish it off with violas and cellos. It is polyphonic cos I prefer it when composers write lines that don’t match vocal melody.

I take each part of me apart
Like you didn’t feel me
Like the air was distilled by our heart and I don’t
Show a tell because my mind is withered down
Break a sweat because pieces don’t make a sound
The lies we keep lie razor deep like stains on last nights bed sheets
Could we ever leave this life behind my eyes don’t deceive me but my heart is blind

Every bullet has our nations name on it.
In the name of the crown, with the sound of it. ( to keep it accurate cos’ the queen is dead)
I have loved you for who you are and even if you didn’t know I’d always love you. (Kind of a letter to Vesper)
I have always been so sure of this, from the moment I saw you, I knew that I would kiss you.
And even though we fell through the gaps and everything 
Always made me sure that I would be amiss.  

Somebody won’t do it if I wouldn’t do it for your lies 

Every little bit of malice that we detest
Every little bit of sadness in our breath 
Shakes the foundations of what we build to its chest
Am I not a reader of obituaries  (Skyfall reference)
Am I not the protector of sanctuaries 
I’ll lift this orphaned past into a future of service to war (accurate to Bond’s orphan upbringing)

I’d drain the rivers dry just to taste something clean
I know that you will love me.  (Yes a proper Bond pick up line)

Yes, the most accurate Bond lyrics to date. Even pays homage to the bad old Bond films misogyny by saying ‘bitch.’ 
I really like Skyfall/Casino Royale.  I did ‘meet’ Daniel on Broadway when I was at NYU. Walk passed him and should have asked  ‘what was M16 doing on Broadway?’ but in NY the cool tradition is ‘leave celebrities alone’. I think he was good and some people point out the blonde hair but he looks more like a thug than previous Bonds which is closer to Fleming’s idea. People criticise Dr. Christmas Jones for not looking like a nuclear scientist but Pierce looks more like a model than a spy. Not that I know what spies look like. I wanted to criticise the writers for sticking Vesper in every Craig film.  I was watching No Time To Die with my sister in the cinema I was thinking, “Vesper…again?”.  I finally found out she sacrificed her life for him so to mope for all of his films is fine. I did not like the ending which I thought ripped off ‘Hero’ with Jet Li except they replaced  arrows with missiles. I noticed Daniel does swim well. Then, he did the Belvedere commercial and that kind of ruined a little of his Bond image for me. 


Vesper Lynd

*** do something you are passionate about ***

Artist signed by several music labels ⚡

including :
UFO Recordz (700k) 
Guia Records (22k)

Piano teacher & Pianist in the south east of France. 🎹

Collaborator of The Delight Music Project born in 2024 with Mike Wornath & Armaora Records.

Creating beats since the age of 16 (I'm 43 yo)
Cubase lite in 1998, then FL Studio until now.

I sell some beats.

I'm an Afrobeats artiste from Lagos, Nigeria

follow me on Instagram aggiemusic_
TikTok aggiemusic_
add me on Facebook Alex Aggie Aguilar
Spotify Aggie

https://linktr.ee/elaggster

contact me at themostempirical@gmail.com

Mudlark^ studio was started in 2010 ;)) / 1971

singer-songwriter/guitarist /composer/arranger. I do everything about making songs by myself.  Basically my music consists of acoustic guitar playing and vocals, but now I’m trying to make it sounds  more catchy and enjoyable for today’s listeners. And I’d like to say that listening to the music on SoundCloud always give me such inspiration and motivation. I do love and respect your great works!
Wish you all good health and safety from my heart🕊️💛 And thank you so much for your listenings and support, always🙏✨✨✨

backup account til I can get back into main

#DeeperEntertainment Now offers #FREE <- #Distribution for #All #Genres of #Music, to #6oo+ #Worldwide #Retailers.  Contact Us : @ \ deeperentertainment@hotmail.com \ for More Information 
#SubjectLine ( Distribution )
I am an Independent Artist signed with Deeper Entertainment.  They are revolutionizing the music industry, by supporting the independent recording artist, promoting musicians’ artistic freedom and allowing the artist complete creative control. In doing so, we hope to influence a change to better support original music within the industry.  Enjoy mE,  ThE DiCE!

From the live houses of the Jing to busking in tunnels (Granted, the 33.3% donation rate was based on the fact that he had removed his stifling white collar shirt and was dancing bare chested) in Singapore, Psychedelic Revolution (aka Psyche Rev) is a one man project that likes most things such as alt r&b and alt rock. Made it as a semi finalist in 'Song of the Year' competition in 2022 with his song 'Cassius.' Finalist in 2023 with 'We'll Go Down.' Finalist in 2024 with 'Sigh' and also taking semi finalist positions with 'Heartbeats & Inner Turmoil' and 'You Had Me'. Tastes like Kung Pao Chicken. Looks like a cross between Brag Pitt and Heath Leather. Smells like team spirit. Feels like baby powder. Oh the music. Yeah, it sounds good. 


Don't respond to DM's on here so if you would like to get touched pls contact  via some other avenue. He does have a sun fetish though.

Daily Musing:

My final thoughts towards all of the students is that you're all...talented whether you believe it or not. I've taught kids who couldn't pronounce it right after 10 attempts. You could all get it within 5 attempts. I would like to apologize to Ian for saying "连Ian都会". To which he replied, "呵“。 I prob have the wrong character there. On a side note, it is definitely awesome to love Pantera, Metallica, and Ozzy but there's no need to tell other people that the music they listen to is..."dumb." :)
You have a girl there who can't say her name in front of the class. I have no idea what kind of trauma you have to go through to not be able to do that but I think some love and patience would be great. She proactively said hi to me when I was downstairs and she has a beautiful smile. I actually thought she wasn't going to do that. 
You should see her 'aggressive' face. It's really good. You guys are a team and it is important that you all treat each other with respect. We failed miserably which is why our teammate left us and went to Switzerland. You guys can do better than us.
I remember teaching at XDF and in our last class I wrote 'f****t' on the white board and asked the students if they knew the word. They didn't. I said this is like the N word but for gay people. Don't say it. You guys got anything against gay people?
And the usually shy kid said, "老师，我们是新一代。“ (teacher, we are the new generation)
I smiled and said, "good. Then I have nothing left to teach you." See, the future of this nation is bright.
I think Lee will be the one that surprises everyone due to his confidence.  Word of advice: please don't ask your future teachers what cigs they smoke in the middle of the class :)
In conclusion, I think they should be aiming higher then Sydney. Melbourne.
Audience: You're gonna say your line aren't you.
Yeah.
"It was an honour to teach all of you."



September: Trap Soul Song I've been shelving
October: I think I'm gonna do a chill hop/jazz hop thing with Coltrane changes. Done a instrumental before but never done a vocal jazz hop thing.

Jabari Keon Carter A.K.A. JK. Carter is an Artist born in Lexington, South Carolina [01/20/1993] but raised in Jackson, South Carolina. ( JK. is his first & middle initial of his name which leaves a meaning... abari= valiant, eon= long period of time, Carter= carrier) Jabari Keon Carter A.K.A. JK. Carter is an Artist born in Lexington, South Carolina [01/20/1993] raised in Jackson, South Carolina. (JK. is his first & middle initial of his name which leaves a meaning abari= valiant, eon= long period of time, Carter= carrier) 
JK. Carter is an accomplished musician from the United States who is well-known in the Hip Hop community. He seamlessly incorporates contemporary aspects into his music maintaining historical foundations, which keeps it fresh and interesting.
His songs have a profound effect on listeners because they explore social themes, personal experiences, and societal critique. JK. Carter's music is certain to create a lasting impression on anyone who listens, whether he is spitting out hard-hitting lyrics or pensive ballads. He has developed a sizable fan base thanks to his distinctive sound and intriguing songs. He is well known for the songs "The Grandson," "A Nigga Like You," "Old Same New Stranger," and "Old Same New Stranger - JK. Carter Remix."  Music fans have both found resonance with these songs and others. JK. Carter has established himself as a hip hop artist to watch thanks to his original storytelling, skill with words, and intriguing beats. JK. Carter's music is evidence of his commitment to and love of the Hip Hop genre. He keeps establishing himself as a key figure in the modern Hip Hop industry so keep an eye out for JK. Carter's next songs as he pushes boundaries and enthrall fans with his distinctive style.

www.mortalprophets.com

“Anyone having trouble getting to, or staying, asleep should proceed with caution when playing The Mortal Prophets’ debut album around bedtime. The demonic intentions implied by the album’s name and defined by John Beckmann … coil each selection in menacing directions, bringing fresh, often frightening twists to these standards. Be aware - when you engulf yourself in these riveting, uncompromising performances. They are not for the squeamish.”
- American Songwriter

The Mortal Prophets: John Beckmann’s Cinematic Descent Into the Electric Psyche

In the sprawling constellation of modern music, The Mortal Prophets occupy a shadowed corner—less a “band” in the traditional sense than a living, breathing séance conducted by John Beckmann. Across a series of albums, Beckmann has been excavating the strata of Americana, dream pop, blues, and avant-garde minimalism, folding them into a fever-dream narrative that feels like it was beamed from a late-night pirate radio station somewhere between the Mississippi Delta and the outer rings of Saturn. 

Beckmann, who founded New York’s Axis Mundi Design before turning his obsessive creative drive toward music, approaches songwriting like a visual architect—each track a space you inhabit rather than simply hear. His arrangements have the tension of architectural blueprints: precision married to instinct, steel and stone softened by ambient light. In GUITARWORKS II, the most recent installment in a sprawling instrumental odyssey, guitar tones unspool like distant telegraph wires, calling to mind Robert Fripp’s collaborations with Brian Eno, or the glacial drift of Cluster’s experimental soundscapes. It’s profoundly cinematic, yet never ornamental.

If Beckmann’s earlier releases (Stomp The Devil, Me and The Devil, Dealey Plaza Blues) reached back into mythic Americana—the open road, outlaw ballads, acid-washed folk visions—his more recent work tilts toward the abstract, replacing narrative with mood. This is music that understands how memory works: fractured, impressionistic, prone to bleed between truth and hallucination. The Mortal Prophets operate in that liminal space where you’re not sure if you’re dreaming, or just remembering wrong. 

Vocally, when Beckmann steps to the mic, it’s with a delivery equal parts Leonard Cohen confession and Bowie-esque theater—half-smirk, half-sermon. Lyrically, he trades in arcane symbols and sly allusions: 19th-century mystics rub shoulders with dive-bar drifters, and romantic longing flickers like neon through a rain-soaked windshield. He’s not afraid of obliqueness; in fact, he seems to revel in it. Where many contemporary songwriters flatten their work into algorithm-friendly hooks, Beckmann builds labyrinths. 

Part of The Mortal Prophets’ magnetism lies in its refusal to settle. One album might summon the humid ghost-blues of Junior Kimbrough refracted through a loop pedal; the next might drift into synth-heavy dream pop worthy of an early-’90s 4AD release. Beckmann’s collaborators—rotating players drawn from both avant-garde and roots backgrounds—expand that sonic palette, giving the project an almost shapeshifting quality. 
In a cultural moment where genre boundaries are largely performative, Beckmann treats them as haunted ruins worth spelunking through. His songs feel like dispatches from parallel histories of American music—histories where psychedelia never died, where blues never got sanitized, and where experimentalism didn’t have to hide in academic halls. 

The Mortal Prophets may never break into the Billboard mainstream, but that’s hardly the point. Their appeal is in the slow burn, the intimacy of discovery. Beckmann’s work isn’t built for quick consumption; it’s built for listeners willing to linger, to decode, to wander down the long corridors he constructs. In an era obsessed with speed and surface, The Mortal Prophets offer the opposite: a deep dive into the echo chamber of the self, scored by a man who seems to know exactly how to make the walls sing.