Name: Komar Lata, Woda Mknie by PYRK
Duration: 8 min 22 s
Description: New album at https://pyrk.bandcamp.com/album/pyrk-5

Sounds like early classic Hawkwind.... I like!

Hope - Music & Lyrics by MJ-Brewer, Music by TexMex Shaman, Music/Vocal Design & Arrangement by REKHA - IYERN [Fe] | YT VID

YT: https://www.youtube.com/watch?v=7qXb0RfnkTI&list=PLAj4QK9fs02a2N3tcglhgXj9zYHkZ1RBQ&index=76

Lead Guitar, Mandolin, Arrangement, Mix & Mastering - TexMex Shaman
Rhythm Guitar, Composition, Arrangement & Lyrics - MJ-Brewer
Music/Vocal Design & Arrangement (All lead & backing harmonies) - REKHA - IYERN [Fe] 
Cover Art Design: AI Generated by MJ-Brewer | Additional Graphics REKHA- IYERN [Fe]
Lyric Video by TexMex Shaman Coming Soon on YT: 

Hope - Music & Lyrics by Mark Jackson

Well I hope someday that you know how it feels to be lost going nowhere
Well I hope someday that you know how it feels to see the people stare
I’ve been stripped of my pride, my heart opened wide
Lord knows what’s inside but Ihope someday to find it
I must confess, I’ve been so stressed, my life is a mess 
You know I don’t even seem to mind it

Well I hope someday somebody comes to save me, but I doubt they ever will
I hope someday somebody comes to save me, just take me away from here
I shouldn’t lie it’s so hard to try to say goodbye you know everybody needs a friend
It’s a crazy thing what the bad times can bring, a birds broken wings, it’ll never fly again

Well I hope someday that people will say that I did I did my very best
I hope someday that people will say I always, I always seem to make them laugh
Through sickness and health, poor times and wealth, each hand that I’m dealt, I always try to stay the same. Through thick and through thin I bounce back again, I lose then I win, and I’m always ready to play the game

Oh yeah, hoping things will be fine someday
Hoping things will be fine someday
Hoping things will be fine someday



Hope-final-master021225

Hope

Hope - Music & Lyrics/MJ-Brewer, Music/TexMex Shaman, Music/Vocal Arrangement/REKHA - IYERN [Fe]

New album at https://pyrk.bandcamp.com/album/pyrk-5

Komar Lata, Woda Mknie

Cast of characters:
Jonathan Beckenstein — @jonathan_beckenstein — acoustic guitar, composition
Cgmaness – @user-419254289-15129531 – Chris – bass, vocals, and lyrics
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums, percussion, and vocal harmonies
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Roland FP-10 piano and Collings mandolin
TexMex Shaman– @texmex-shaman –Stephen– Tom Anderson custom T slide guitar, production, mix, and mastering
Mistermark-- @user-432503709 -- Mark – harmonica, edited fiddle samples, and jaw harp
This song began when Jonathan wrote it on his acoustic guitar several months ago with the intention of developing it into a larger song. When Josh approached him about doing a collaboration, Jonathan thought this one would fit the bill. I should say at this point how much we all admire Jonathan and enjoy his music. On the unlikely chance you aren't already familiar with his music, I suggest you go hop on his page and check it out. 
  All that to explain the level of excitement that ran through Eclectic Collective when Josh shared the project with the group. Chris was first to jump on it, coming up with his intricate bass line even before Ken added his moving drums, although they went back and forth a couple of times to create the rhythm section. Josh jumped on right after that part was complete, adding his mandolin and piano to the mix. Steven was next up, adding his howling slide throughout. Last, but certainly not least, Mark came up with the driving harmonica and twangy jaw harp, and the raspy fiddle, adding them all to complete the instruments. 
  At this point, we had a pretty good instrumental song on our hands. However, Chris decided to give it the extra kick by adding the vocals, the lyrics for which he wrote himself. Our multitalented drummer, Ken, added the vocal harmonies shortly after, too.
  Now that it was in the bag, we needed some production for it. So, we turned to Stephen, who mixed and mastered it in his alwasy expert fashion. 
  This song is a real treat for everyone in the band, as I mentioned earlie. We are all very grateful to Jonathan for sharing this song with us, and had a wonderful time helping bring it to life. We hope you enjoy listening to it as much as we enjoyed creating it.

Original lyrics by cgmaness:

 Come on now let's break a leg,
We've got it made in the shade.
One more day, go out and play.
I guarantee we've got it made.
Oh, we've got it made.
Happy to be with my friends today.
Fill up your drink whatever it may take.
I guarantee we've got it made.
~Gibberish~
Don't need a reason,
Or wait for the seasons to change.
That's what I claim.
Go out on this limb with me,
And realize, we've got it made.
We got it made in the shade.
Can't you see we got it made?
Oh, we've got it made.
Happy to be with my friends today.
Fill up your drink whatever it may take.
Can you believe that we've got it made?
Come on now let's shake a leg.
We've got it made in the shade.
Don't need a reason,
Or wait for the seasons to change.
That's what I claim.
Go out on this limb with me,
And realize, we've got it made

We Got It Made- Jonathan Beckenstein/ Eclectic Collective

A somewhat surreal and odd glide through abstract electronic sounds. I think I like the outcome. Kinda raw mix, exploration took me places and I think it's strangely dreamy. :D But perhaps good enough! Earphones mix? (sorry about that, that's what I have available at the moment) Hope it sounds interesting!

Dream of Kites

me jamming to the great little wing theme..
(Cover of "Little Wing" by Jimi Hendrix)

Little Wing Lounge  (Jimi Hendrix Cover)

My Method of Composing and Producing

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.

Suite for Woodwinds and Percussion No. 2

good morning, honey

Slippery Rock and Roll by MJ @piyocfbio8b2
Orgasmic vocals and flute playing by Anais Giulia @user-520332251
Construction by Box Number Eleven
Image by Anais Giulia

Sex And Art And Rock And Roll (featuring Anais Giulia)

music: mike brosco
image: suzanne rinehart / mike brosco

Downturn

Chapter 234 of 266

Enter the enigmatic world of "TAFFETA," a musical tapestry woven from the threads of dreams and tragedy. Born from a single night of profound dreaming, this ambitious project embarks on an exploration of the human psyche through the language of instrumental music.

This is a five-year project, comprising of what will eventually end at 266 chapters, each is a standalone piece of sonic artistry, "TAFFETA" unfolds like a novel, with each composition serving as a chapter in a larger narrative. Crafted with meticulous care and creative fervor, every piece is birthed within the span of a week, capturing the essence of inspiration in its purest form.

But "TAFFETA" is more than just a collection of songs; it's a journey of the soul. Set against the backdrop of loss and longing, the project follows the story of a woman who slips into a coma following the untimely death of her husband. Through the evocative power of music, listeners are transported into her world, where emotions ebb and flow like the tides of a restless sea.

Week by week, each chapter of "TAFFETA" unfolds on SoundCloud, inviting audiences to immerse themselves in its haunting beauty. From cinematic compositions to haunting electronic soundscapes, each piece adds a layer to the intricate tapestry of sound, weaving a narrative that transcends the boundaries of language.

As listeners embark on this sonic voyage, they are invited to ponder the mysteries of existence, to confront the depths of sorrow and the resilience of the human spirit. "TAFFETA" is not merely a musical project; it's an experience—a testament to the transformative power of music to touch hearts, stir souls, and awaken the imagination.

If you wish to take a dive into everything that has come before:
The TAFFETA Albums each contain 15 consecutive tracks and are available for free, exclusively on Bandcamp.

TAFFETA VOL. 15 is now available exclusively on Bandcamp. 
https://belialpelegrim.bandcamp.com/album/taffeta-vol-15

TAFFETA VOLUMES 1-14 are all available on Bandcamp
https://belialpelegrim.bandcamp.com/

COVER YOUR TORSO WITH TAFFETA! Check out the official TAFFETA t-shirt!
https://belialpelegrim.bandcamp.com/merch/belial-pelegrim-official-taffeta-design

The TAFFETA Playlist is always kept up to date:
soundcloud.com/belial-pelegrim/sets/taffeta-a-266-part-musical?si=d46fc7ad1b50446dadc7ce3ffe1a1b02&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Taffeta 234

TAFFETA | 234

Single Use And Recycled: Guitars, Songwriter
Rob Olsson: Bass, Lyrics/Vocals

You only love me when I
Do what you want me to 
Got this weight on my shoulder
Don’t want to be a martyr

Blooms in full flourish
Fold away at night
Out in summer air
Out in summer air

Can we talk about the fact that
You want to be free
You’re capable at any time
Break your bonds and run away

What you’re giving, only some of
What I want to take
Take it all for myself
Life turns on a dime

Blooms in full flourish
Fold away at night
Out in summer air
Out in summer air

Can we talk about the fact that
You want to be free
You’re capable at any time
Break your bonds and run away

You out in summer air
Prowling in my garden
Turn my back, you run away
Don’t know what you’ll encounter

You only love me when I
Do what you want me to 
Got this weight on my shoulder
Don’t want to be a martyr

Blooms in full flourish
Fold away at night
Out in summer air
Out in summer air

Life can turn on a dime
Turn on a dime
Life can turn on a dime

Blooms In Full Flourish w/Single Use And Recycled

#noise #space #freeimprov #kraut.

Kacper Sikora - synthesizer.
Adam Majdecki-Janicki - electric guitar.

Recorded at Via Kosmische.
Artwork by Fau-Fau.Design.
Profile Photo by Hugo Marcel.

Inspired by Alien Planetscapes, Sun Ra, Popol Vuh, and Yuri Morozov.

Komar Lata, Woda Mknie

PYRK

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