This was a major challenge as I've never done anything close to what this is, a mix of rock and talk, then some singing, sound effects. The verse lyrics are direct references to some of the guys I ride my bike with regularly. The chorus, by contrast, is about riding motorcycles in general. It's been as much fun as it has been challenging though, learning on the fly, a little like riding ever faster, for that matter. Hope all you  motorcycle people like it, and even if you don't ride them, you might be able to figure out why it is we love motorcycles so much just by listening. I added a third verse and new bridge recently too.

Rock, Rap And Ride

This is one of the first pieces I have written that is very conciously electronic. In that mode of thinking, I emulated some of the big dance writers of the pop genre, such as Zedd, some of whose songs I love. Originally, the piece was all at the one pace, but eventually, I wrote the short 8 bar movement at 4:44 to give it a more dynamic nature.  I then took that movement, used it as DNA and re-wrote the intro so as to segue into the adrenalin paced main body of the song. It's all done in Reason and uses an incredible number of instruments and processors with the vast majority of the sounds designed by me. I suppose a singer, female most likely, could be a nice addition, but for now, it is what it is and I hope you enjoy the many scores of hours I have put into this. 

Dance Of Kings And Queens

I am dedicating this to a friend of mine on Facebook, Sarah, who has been going through a very rough time the last couple of weeks. This work started as an ending to another piece, but I felt it was strong enough to make it a entirely new work. We were in the midst of a lot of rain, and I felt it had that kind of melancholic, but beautiful, nature where you just sit in a chair watching the rain, content to be inside. The title comes from a Jimi Hendrix song on Electric Lady Land, but the lyrics are mine and this is the first time I've sung to any of my work. I spent a lot of time getting all of the synth parts to collate with each other and I think the one solo in it with a very Mini Moog type sound is absolutely one the best solos I've ever done, guitar  or keyboard wise. Hope you enjoy it!

Rainy Day, Dream Away

This is the third work that is dedicated to a precious friend, an incredible person, who passed away. I doubt if there's a work in all of my composing that contains the amount of emotion I felt while composing this and I only wish this person could have heard  it.  Sometimes, you have to create something beautiful out of the worst of life's trials.  I'm afraid I can't be bothered talking about any of the technical details, because they seem so inconsequential in the face of the impact this has had on me. Rest in peace Tiffany, some of your pain is now ours too. 

Lost Lament

This is a rarity for me. This is only the piano track from an upcoming release, which is full of dense orchestration featuring many acoustic instruments from the orchestral family, plus a few synthesizers. The music is finished and it's going to have lyrics, yet to be written and my own singing. Though some of it was composed using the piano as a base, much of it wasn't and after some ideas for other instruments, I would then write the piano parts.  I put this up only so people can see the types of things that go into a composition of this nature.  The piano parts are by no means technically difficult and it's kind of Eric Satie in nature. 

Haunted-- Piano Solo

This piece is dedicated to a special person and friend whose passing has affected many. Originally, I had intended on writing lyrics and singing to it myself, but the more I tried, the less I seemed able to find any words that could express the feelings I thought were inherit in the music itself, so at least for now, I've given up on the idea and am going to just let the title and music tell the story.  If nothing else, think of the people you love and cherish what they mean to you. Many are gone too soon, but in her case, it was far too soon, but I can only hope she has found a peace that perhaps she never had. I'll always remember Tiffany with deep affection and hope her light shines through in this music.

Haunted

Obviously, like most of my work, the title should give away as to the affect I am trying to invoke in the listener, and it's an ode to the open minded amongst you, how these types of inebriants can be used for creativity, just as it was in the 19th C. before the puritans and politicians came in to ruin things they knew nothing about.This was done totally with Reason and I did a lot of experimenting to build many CV controlled things. The bass alone used 4 Thors in a combinator, 10 oscillators I think. The vocoder-like Thor used throughout, used the Synchronous wired into the CV ins of Thor to control all sorts of parameters. There are many different types of percussion used including Redums and Dr.Rex. Hope you get something good out of the music. I think I wrote this in about 5 days, including all the programming involved.

About the art: when coming up with the title, I found this great artist from Hungary who had a book with the same title, Attila Sassy. His work is well worth checking out too.

Opium Dreams

I did almost all of this basically on my looping pedal one evening, then re-did it while adding all sorts of flourishes using many of my software effects by U-he. Every one of the 7 tracks used the delay of Urs, the MFM2 and my main compressor was the Seymour Duncan Vise Grip. Just one guitar, my American Fender Telecaster, a god in disguise. This is dedicated to a friend of mine in a far away land, the same person I dedicated Lightness Of Being to, and and hope she feels inspired by it.

Earthly Odes, Erotic Codes

This is the first of what I plan on a number of works mainly guitar based, and many, extensions of looping experiments. The main figure, the arpeggio based on a G maj b7-9 chord is done on my Strat, all other parts, my Telecaster using my Way Huge  and/or Xotic compressors. The bass is the VST Korg Polysix the drums, Groove Agent. Except for a Cubase tube compressor, all other effects are U-he Uhbiks and MFM2. The painting is by Wojtek Siudmak

The Eroticodes Suite Part 1

This is a new version of the original. I didn't touch the original, but added my synth bass patch, Synthmaster, and drums from Steinberg. It's now taken a decidedly different slant, much heavier, more danceable, and I have to say, I am utterly thrilled with the difference. Hope you join me and do some dancing to it!

Earthly Odes, Erotic Codes, Exotic Modes

This is part 2 of my intended suite of purely electric guitar instrumentals. They will all use foot pedals and software effects to achieve what the final results and in this one I used my Fernandes Strat, and my Fender Telecaster and Stratocaster. Most likely, they started life as looping experiments,which I then take and do more polished versions in Cubase in which I can have far greater control over panning, effects, etcetera. The painting is by Phyllis Mhon and is called Almost Kiss-Eos and Hynos

The Eroticodes Suite - Part 2

This work is dedicated to a friend from much younger days with whom I re-connected with after 31 years. It's funny how some people's core personality traits can still be seen, which is probably why we found such ease being around each other again.

This started as another looping experiment 2 weeks ago and I knew the minute I came up with it, that it was destined to morph into a finished work as part of my Eroticode series. The figure doesn't actually start until :50 seconds. The whole work was very odd, in that I kept coming up with all these movements I knew were connected, but for a little while, I had no idea of how they would be ordered, or how they were going to  segue from one part to the next, but it then all came together after a few days. I actually played my electric bass on this one and used my 3 guitars for everything else. The drawing is by Timur Tsaku.

The Eroticodes Suite - Part 3

This work started with the figure you hear starting at 1:10, a simple C+ to F+ progression embellished by all sorts of other figures introduced. The tempo changes at 3:07 to introduce some levity to the piece, while retaining its sensual nature, the core that connects all the Eroticode Suite.  In a departure from all my other works, I used nothing but my guitar footpedals, including my recently acquired Boss DD-500, Quantum Leap and Aleks K Honey Moon Sweet pedals along with my Seymour Duncan compressor and TC Nova Drive. I used a tiny bit of Cubase EQ on the bass track only and a combination of Tele, Strat and Fernandes Strat for the guitar parts. The bass is a Frankenstein. Enough of techniques, now on to listening! Enjoy. The illustration is by Timur Tsaku again.

The Eroticodes Suite - Part 4

This is part 5 of my Eroticodes Suite, one of the first works that presented me with a number of challenges, the biggest of which was trying to collate the ideas into a cohesive whole. It wasn't a dearth of ideas, quite the opposite actually, and sometimes it becomes difficult to organize them into something convincing on the aesthetic level. But a little like complexity theory, eventually, it seemed to organize itself. Along with a few score of listenings and experimenting.

This is dedicated to a new friend of mine, Jess, who I've had the enjoyment of some great dancing and intellectual discussions with. When you are interested in, and love, the cerebral, it's a delight to be able to throw out and talk about arcane ideas without wondering if you'll be understood.

Once again, all guitars and one bass with extensive use of my new Boss DD-500 delay pedal, which has been a fabulous tool for me. The work started with the line you hear at :10, a simple broken chord progression of Bb maj to C maj. From there it takes many twists and turns, hopefully retaining your interest through the playing, transitions and movements. Once again, the drawing is by the fabulous Timur Tsaku.

The Eroticodes Suite - Part 5

This is dedicated to Lucie, a special friend of mine who I play tennis with.  She's a unique person on many levels and someone I feel very happy to have met for reasons well beyond playing a game both of us love so much. 

This work had its birth in the figure you hear just 20 seconds into it. It's a very keyboard like line in which I am simulating pressing the sustain pedal on a piano, so the notes, which are C#-B-A#, ring out over top of each other, creating a richly resonant sonority. It encompasses 8 movements and transistions from one to another in fluid-like ways embracing the yin and yang as a cohesive and symbiotic whole. 

My main guitar on this one is my Fernandes Strat, but I do use my Fender strat and tele also. Effects are mainly my pedalboard including my new Boss DD-500 and Seymour Duncan Vise Grip. I use U-he's MFM 2 delay and Pitch Shifter on a couple of tracks also. The beautiful painting is by Mati Klawein.  

The Eroticodes Suite - Part 6

This piece was a real joy to compose. Every hour spent on it was so much fun, and I loved playing and coming up with the work's many parts. Electric guitar is such a hugely diverse instrument when coupled with effects, and I like the disinction between synths and it as it has a visceral quality that synths will never have for me, even though I love them too. I make extensive use of my new Boss DD-500, Way Huge compressor and a number of Uh-e effects. I've broken from my original idea in the last 2 pieces and used a Synthmaster for bass; it just seemed to work better than electric bass.

When finishing this work, I was shocked, as everyone was, to hear that Prince had died. As he was a major influence on me many years ago, and on many levels, I am dedicating this work to his memory. 

The Eroticodes Suite - Part 7

This work seemed to give me trouble in that for the first time in the last 6 months of numerous compostions, I actually struggled somewhat. But, as time went on, it started to come  more easily until I could barely remember what the trouble was. This work is all about exploiting all sorts of emotions from delicate to dramatic to very aggressive. The intial idea for it starts at :37, a figure that runs from a 1/4 note delay into a whole note second delay. I liked the hypnotic effect that gave. There are numerous effects used, a Boss DD-500 delay, Novadrive and Way Huge Compressor before Cubase, and all U-he effects within it, along with 1 Steinberg effect I just discovered, a dual filter with an x-y matrix with which you can control  2 filters at once. You can hear that in the intro with the 1/8th note figure I played.  The bass is Synthmaster. 

The art is Attila Sassy.

The Eroticodes Suite - Part 8

This was written to be a guitar/bass/drum thing, a jazz funk piece with a little bit of double tracking for the guitar. I only brought in minimal keyboards for this piece and are only there for a small amount of sonic colouring.. This was done on my old Atari/Notator/ADAT system a few years ago with a Roland GX-700 as my processor. The drums are the Yamaha RY-30 through a Digitech TSR-24 and I think the bass was from a Korg M1R. I like the "reggae" section that comes in at about 1:36 because I wanted to really stretch out the usual suspects in terms of chord voicings and make it a little more like jazz funk meets reggae.

Junk Funk

My friend, Nicole Bardawill, has a show on our university station, CHRW and for a second time she had me on to play 6 of my works, and in between, discuss all sorts of aspects of the many compositional processes involved. We had a great rapport, covered lots of territory and I hope it will be insightful to all who listen.

Radio Show KillYr Idols With Nicole And I

In a way, this piece of music has felt like it's been waiting a lifetime for me to compose, and it's due to the person who I've met who's insipred it. Of course, it's dedicated to her and I expect a lot more of my work will be too. I know with certainty that I've never poured more of my heart into another piece and I hope all of you can feel the love within it. Please take a piece of it for yourself,  because I want nothing but the best for all of you too seeing as I feel so overflowing with that emotion myself. Below is a poem that accompanies the music:

     The Dawning Heart

As starry night takes its leave,
The cards of chance plays a perfect hand
And two paths unplanned re-chart their course,
A new map alighting forgotten dreams.

Your rising sun illumes my darkened room,
Unbinds this newly stirring heart.
Silvered hands dance upon my skin
As muted sighs fill lost Times.

We float in worlds our own,
Each moment together, an eternity.
You’re in each waking thought,
Rising ever heavenwards.

These dreams live through the day,
Your beauty, by day, evermore aglow.
Your stardust fills my eyes
And flutters in this mythic tale.

Mapping The Dawning Heart

This is the second of an intended trilogy written for, and inspired by, a person who's changed my life. I hope you can feel the love that went into it and the emotions that gave rise to it.

Diary Of The Sacred Hearts

This is the third work in my trilogy Notes To My Lover, inspired wholly by the same person who has changed my life infinitely, even though that has now all changed for the worse. I wrote many more for her after this, but feel like these three works have a congruity that has a completeness to them. 

I used many of the same instruments as the first two, for aesthetic and artistic reasons, but added more synthesizers in each work. Once again, I hope you can feel the emotions that have been poured into it and perhaps take some of that for your own life. There's never been, or ever will be, in my mind, anything better than love when it's as good as what I had.

Journal Of The Rhapsodic Hearts

This work was inspired by, and dedicated to, someone who was special in my life for a brief candle, but that's a lifetime ago now, sadly. As usual, the title finally came to me after having 2 or 3 that were close to it, but were never quite satisfying enough. I think its present name with its multiple meanings suits it well though. This piece started with the bassline you hear at :21. I wanted to write something that had its roots in funk-like lines and from there it grew into something much different from that. Though it has little to do with the term associated with trance, I consider it so in the word's actual meaning, in that it's meant to be hypnotic with its languorous tempo. This is all done in Reason, but with numerous VST synths I use all of the time, Synthmaster, Zebra, Monopoly, and quite a few Thors. The bass is actually a Polysix, Thor and Europa for 8 ocillators of thickness. Drums are all Dr. Rex things with filters being swept by LFOs, delay and no other processing. I used the EQ in the SSL a lot in this piece, getting more and more familiar with how great it is. So hope you get something out of it as I had so much fun composing this.

Beauty In The Dark

This piece is a journey through existential depression brought on by a couple of things in my life. But as the work progresses, it's also a tale of the escape from that as it goes from dark in the first parts, to light at the end. The drawing is Durer's incredible Melancolia and very much reflects where I was at.

This piece started at my piano which is the whole solo beginning movement. From there, I use it in combination with all electronic instruments using Reason and a number of VST instruments. I mixed this down many times and kept going back to edit and resculpt many sounds, and use a lot of EQ through the Reason mixing board. This was about 4 days of very intense writing and was a lot of fun to compose and engineer. Hope you enjoy it!

Melancholic Sojourn

I started this work a few weeks ago, until life interrupted me and I ended up composing Melancholic Sojourn instead. Once that was done, I quickly got back to this one. This is my first piece I'd consider more truly classical, for solo piano and partly it's been my acquiring a real piano, and partly due to Reason's amazing sounding Radical Piano that I got into writing this. It's a very contemplative piece, delicate in nature with shades of impressionism in it, one of my favourite classical genres. The name came to immediately and needed no reconsidering because I loved its multiple meanings and references to people like Monet and Debussy.

The artwork is by a good friend of mine, Kelly Wallace, called Light Mass, 2012,  lead, paper on panel - 56" x 91" . I felt as if this work was almost a perfect visual complement to the music.  You can see more of his work on his site listed here:  http://terminalarts.com/

On Reflection

This piece is a celebration of what love can be at its best, a musical manifestation of a mad love I had for someone at one time. But that love is now long over, a disastrous disintegratiopn that indicates to me that I never really knew her at all, something almost impossible for me to believe, but delusion can be pretty convincing at times.Its title came to me almost as an epiphany and it was the only one I came up with. So here's to sound, music and love and can only hope that all of you can feel the good side of love, not its loss.  I had to re-write this dedication in light of the ending of our relationship and doing this is as difficult as anything I've ever done bringing torrents of tears and new pain to my heart. Whether I will ever be able to scale those heights again seems unlikely for now, but I can only hope it hasn;t jaded me for good.

This Is Love

I Dream In Funk

This work is the result of setting some self imposed limits as follows: I just bought a great new software delay made by Blue cat Audio called Late Replies and thought that in order to tap its potential, I needed to dig deeply into it, so then decided that I would compose a work using only one softsynth, Propellerhead's Parsec, and the delay for all effects. I turned off effects on all the sounds in Parsec and did everything except for a couple of tiny things- convenience only- using Late Replies which I used on all 11 sounds in this piece. There is one arpeggiated line using Late Replies's tuning effect on a number of taps, compressors, various modulators, EQ, reverb, swept filters, etcetera. It's a great way to get to know your gear better, plus a cool challenge to get more from less. The title came to me quickly and once I thought of it, it seemed like there could be no other. Hope you enjoy what I did here and happy to have joined the BCA family.

Delaying Time

Last summer I wrote another piece called "This Is Love", an assertive title derived when I thought I had discovered and knew love. Since that time, I've gone through an existential crisis during the breakdown of that relationship, hence the title: "Is This Love?" So this piece is meant to be paired with that one. Think of it as a corollary maybe. A lot of this piece has many of Rob Papen's Explorer 5, synths and effects, but there's a lot of Korg's Monopoly too handing bass, lead and arpeggiator stuff. All effects outside the synths are Rob's though.

Is This Love?

After almost a year of being dormant, my love of composing has thankfully returned. It's a musical journey the title of which might give you some insight, or perhaps, be a signpost for you derive various meanings, all of which can have their own personal identity. The music is all software instruments made in Cubase and Reason. Most of the softsynths are iterations of the great Zebra, Synthmaster and MonoPoly, all percussion is via Reason and effects are either plug ins or in the synths themselves.

The title is, for me, more personal and this is dedicated to someone who's been very special to me for 40 years now and who I miss immensely due to various factors. But the emotions reside within the sounds and music contained and I hope she derives half as much pleasure from listening to this as I did in creating it for her.

Perfect Beauty: Orbiting Venus

This initially got started while I was jamming late one night with a Christine and the Queens track. I had one sound that was beyond euphoric that I was using, a Synthmaster patch I have since changed a lot but I used the 3 chords from the song for only a part of what it became. I knew early on, I wanted the idea of the mythological Sirens to be part of the title, then skewed the narrative to suit my own purposes. Now, the Sirens are not the malicious entities of the various myths, but beautiful sea nymphs who are loving and swimming as gracefully as any creature in the sea. And instead of them trying to seduce me, it's me, using my music to seduce them in a reverse of the myth in which they seduce sailors to their demise.The beautiful painting is by Fredrick Leighton called The Fisherman and the Syren, 1958.

Seducing The Sirens

I wrote this for someone many years ago when I was in a rock band and its message still holds much truth. I am betting its message would work for many people for that matter. Anyway, a long time coming, including my anxiety in singing, let alone, that I still prefer my messages to be in purely musical forms even if I love words and their poetic power. This is in as raw a musical form as I'll likely ever be, just grand piano and two tracks of singing, a sprinkle of special effects and one reverb for all vocals and the piano. The photo seems a nice visual analg of the lyrics too.

Unbroken Image

I did this in about 10 hours of working, a record for me probably. May come back and polish later, but happy for now with the way it is. This is all Reason with synths and effects coming from a lot of my VST instruments like Zebra, Synthmaster and Monopoly mainly. Felt the cosmic connection from the start, which was the apeggiator 9 bars in. Loved writing the end part too. Hope you enjoy it.

Under The Celestial Night Skies

This is dedicated to someone who is very special to me. I hope much was captured about that in the music itself. 

The music was partly inspired by a software synthesizer I own, the new version called Blade 2 in Rob Papen's fantastic set called Explorer 6. All sounds are Blade 2, the only other effects are 2 instances of the RP Delay as send effects In Reason 10's mixing board. The drums are Punch 2 driven by Lectric Panda's Kompulsion. I'd start with a preset, but all of them were re-worked by myself, including most of the drum sounds too. Hope you get half the fun of listening to it that I did in composing the music and descovering Blade 2's amazing power.

Dreaming On The Silvery Moonbeams

This is dedicated to a friend of mine who I know loves dancing too. Hope  she keeps that love going in trying times. But hey, there's always music!

Initially, this started out as the ending movement to another work soon to be posted. But it was independent and strong enough that it seemed far better as standing on its own. There's a horde of instruments here, and hopefully, I merged the electronic and organic into a way that captures the Otherworldy I was aiming for. Some pieces more than others, can make one feel as if one has acheived something that borders on the transcendant. For me, this is one of them and hope you can derive that feeling while listening also.

Terpsichore And The Otherworldly

This is dedicated to a good friend of mine. A friendship of over 20 years doesn't come easy or often, so it's nice to be able to acknowledge that through a labour love, this music.

This is a very long piece so it will take some effort if you want to get a lot out of it. As the title infers, it's not just the notes themselves, it's about the sounds themselves, how they interact with each other and how synergies are acquired via all the work put into programming everything. This used to have my last piece, Terpsichore And The Otherworldly as its second movement until I felt it should stand alone. But then, this piece just felt it had to have a second part, so I came up with this very dreamy dubby section and I really feel both movements enhanced each other. I hope these notes might help you derive more enjoyment of this piece.

Tales Of Sonic Sorcery

This piece is dedicated to a person for whom I have had untold affection for for decades, as now. The title is in part the kernels of an uncanny and serendipitous story relating to the writing of it, and an interaction we had while doing so: a few days ago, I was working on it, at the time, unnamed, when I got a message from her asking me if I knew of a composer who had written a work for 50 violins and electronic instruments. I didn't, and she knew nothing about this piece, but it was in a genre that sounded exactly like the type she was listening to. I was utterly taken aback by the action at a distance, so like the phenomena known as quantum entanglements, so of course, it couldn't be dedicated to anyone but her. 
The music has been as much a joy as it has been a monumental effort, over 2 solid weeks of daily work and hope some of you will enjoy it too. The intent has been to take all parts of the palette- electronic and orchestral instruments, rock drums, ethnic percussion - and combine them into an organic whole . It kept growing movement by movement, including the addition of an ever longer introduction that I felt did a better job of leading into the original starting point, the solo electronic percussion part a number of bars in. It has many movements, never repeated, but always sewn together, one movement to the next. It's not a piece you would term "easy", so investing some effort and listening intently will probably garner you far more satisfaction I think.

Entangled In The Notes

What a journey one work can end up being from its first notes to its coda! I've had so much fun working on this piece really honing in on the sounds themselves and how they coalesce with each other and in combination. I wanted them to have an organic unity and there's a lot of complex programming that went into this using a wide pallet of my VST instruments along with some Reason tools too. Long, but hey, the universe is a big place and it's not apologizing!

Interstellar Sights And Sounds

This piece is dedicated to a new friends C. , who I met through a website we belong to celebrating the life and work of Glenn Gould. Naturally, it's far closer to something you could term classical in using violin, cello, string bass, piano, chorals and a single synthesizer sound. The title intentionally has many possible meanings, and stylistically, there are elements of Impressionism in it. It's soothing, and somewhat euphoric at times, perhaps reflecting my current mood these days, so I hope it gives you a similar sense of that reflective serenity too.

The image is a photograph of an exhibit of Klimt's work in Bordeaux that opened last summer on an old submarine base. From many I have seen, it looks like a mesmerizing installation. Paul Klee is another part of it.

Lasting Impressions

One of the bands who had an influence on me, especially regarding synthesis and arranging, was the great English band Japan, who I highly recommend you listening to, including their many offshoots post Japan. Though the music is only partly Japan like, I made a fretless bass sound up and tried giving it the inimitable Mick Karn playing style. I hope I did him justice. I'm dedicating this to those guys, David Sylvian, Steve Jansen,Richard Barbieri and Mick and hope I've honoured their great contributions to music then and since.

Framing The Ghosts

I love composing and many things to do with electronic music and processing of sounds. I also love playing electric guitar and my work reflects both of those loves I hope. I am glad to have found a site with which to upload some of my material. It seems better to have people listen for free, than not to have it heard at all. I have a complicated mix of musical education and tastes: playing by ear at first, then in my teens, taking piano lessons while dropping guitar for a couple of years, getting heavily into synths in the 80s, and around the late 90s after getting good guitar gear, back into guitar again. The last few years I've mixed both of those loves again. Whether I make more CDs is an open question for now, the economic realities being the main issue, not for lack of material.

A lot my pieces are visually conjuring, as in soundtracks for your own imagined movie. Though you won't be able to see it here, obviously, they really work well with things like fractal animations; there's something about the way the images evolve that seem to have a correspondence with the way in which I think of composition in general. 

All compositions are played, arranged, written, and scored by me and all instruments and effects are programmed by myself. The music is self-engineered and produced. I have a long list of hardware and software, but softsynths dominate my copsing now, using such great tools as Synthmaster, Zebra, Bazille, Uhbik, MFM2, Korg's Legacy Collection, Imposcar 2 and Rob Papen's Explorer 6. I have 5 guitars, but mainly use my US made Telecaster and 60th anniversary Stratocaster with a nice set of footpedals.I compose with Cubase Artist 8.5 and Reason 10 on an Intel i7 3820 pc.

Thanks to all who have listened and feel free to write notes on the tracks or to me. I am open to all sorts of discussion, but especially the technical aspects, such as production and sound design. Happy listening.
A friend of mine's comments: Nora Tsai-Houk Love it.... You outdid yourself again creative and talented one! By the third listen lyrics were flowing. The power of induced emotions in the end do bring peace to a ravished chaos.... a beautiful thing.... Healing sounds of enchantment is a cure like no other when one is open and in awe as chaos transforms to an organized flow of speaking sound. Thank you for sharing. Peace & Hugs  
From a really nice comment by Zuma Junction: " Geoff, my friend, your music is so beautiful and emotive... just puts a sublime smile on my face everytime I listen to it. Your compositions redeem music in the modern age. Music in the present day has come to mirror the shallow and extroverted downturn of human civilization... but not your music, brother. This is no 4 on the floor mindless club music. This is redemption. Never stop and don't you ever change!

Raven 2741

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