Alternative rock

“Just a Boy” is a haunting indie-blues track by Three Photons, crafted in response to a tragic local event. With raw vocals, analog warmth, and soulful instrumentation—including Jeff Roberts on bass and Andrew Borderick on B3 organ—the song captures the ache of senseless loss and the fragility of youth. Mixed with precision and emotional care, it stands as a sonic memorial: intimate, reflective, and deeply human.

A big thank you to Jeff Roberts and Andrew Borderick for playing on....."Just a Boy".

This sad and devastating local story has been on my mind for a long time.... I'm reminded about this tragedy nearly everyday as I run along the Mississippi Blvd and see the memorial. 

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Just A Boy
Written by TJG August-September, 2021


Thank you to Jeff Roberts (@jeff_roberts)for his catchy bass guitar work!
Thank you to Andrew Borderick (@andrew-borderick)for the fantastic B3! 
Thanks to Rene (@para-lia) for feedback on an early draft - always appreciate that. 

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Mix 1: September 23, 2021
Mix 2: November 9, 2021
Thanks to Eddie Cilettie for departing some of his wisdom about mixing ;-)

Verse 1
You move like a summer breeze
There's whistling in the trees
You're always on my mind
You were just a boy
Don't leave me alone

Refrain 1 - instrumental and hum

Verse 2
You know I hate Christmas Eve
It brings me to my knees 
You're always on my mind
You were just a boy
You were just a boy

Refrain
How they took your life
What a senseless crime

Verse 3
You said you were going for a ride
But I didn't say goodbye
You're always on my mind
Don't leave me alone!

Refrain
Well they took your life 
by surprise
Such a senseless crime
Such a senseless crime

Verse4
And After all this time
I can't heal
and baby sometimes I can't feel....

Refrain
Yeah they took your life
Yeah they took your life
Such a senseless crime
Such a senseless crime
How they took your life
How they took your life
Such a senseless crime
Such a senseless crime
How they took your life

outro
You move like the summer breeze
and I hear you whistling in the trees....

Just a boy (ft. Jeff Roberts and Andrew Borderick)

It's a breakup tune, with angst, what more can I say?  Making music that is unique, yet audible influences can be heard, is everything. 

YOU'RE GONNA MISS ME
(c) JunkHeap Oct 01 2021 / Remix/Remaster May 2025

It's such a nightmare being dumped, 
breakups are never easy. 
Insecurity feeds.
I know who I am,
I didn't deserve it,  
what you did to me.

The pain it turns, 
it's like a dagger twisted.
Til my heart bleeds.
I see your toxic,
convoluted optics.
So glad I'm free.

You're Gonna Miss Me.

Stone cold, not sure if you're alive.
Well, you made up your mind,
and it's goodbye.
I need to leave you in the past,
I must have been blind.
My soul gives me a high-five.

You're Gonna Miss Me.

You're Gonna Miss Me

Brother Timothy Clark - Bluesy Type Jam

collab with the brilliant @sarahlettes
@robbartholemew sax

Sarah Lettes & William Snide - What did I do?

Hello! This is an unreleased track from my collaborative album HIGHFLUX. Free download  of this track is activated! :)  https://ariad.bandcamp.com/album/highflux

@soundsofthekosmos: Drums
@gluid-1: Garage field recording
Ariad Music: percussions, clarinet, glockenspiel, keyboard

HIGHFLUX

Saturated Orange

Get HIGHFLUX

Fabuloso!

Fairy Tale

From the show "From Where? To Here". Recorded live at the Empty Space, Salford (Sept. 2021).

C÷M are myself and Jon Ogara (@allopenelectrics)
(see craigwinstanley.online/from-where-to-here/ for further information)
For a review of the show, see thegmreviewer.wordpress.com/2021/09/18/…re-to-here/

Thunderstorm (performed live by C÷M)

Migratory Bird  (Τhe hope)

Original composition by Nylïa and Florian Bochkovsky

All instruments, effects are performed, recorded, and mixed by ourselves.
For more information, see our public Profiles.
All rights reserved

Aunt Lydia's Theme (By Florian Bochkovsky X Nylïa)

Just Say You Did It

TO MY FANS for holding on...
SO SORRY.................................
It's been over a week, NO INTERNET...and a few different technicians...
A copper wire was installed today , due to failed technicians' previous attempts.
3 different Mistakes made by the Internet company to log things appropriately, & at least I got a partial compensation & here I am...
***THIS IS MY BIGGEST WORK made under the taking care of two relapsed COVID relatives & one thing after another...THIS is just for YOU ALL>>
THANK YOU from the bottom of my heart for sticking around!

Journey Through Vortex XI

Space Crawler

Finding some old Tascam 4 or 8 track (cassette) recordings of songs from the late 80s/early 90s when Morry and I recorded during summers back from college and after, when we lived together in an apartment in 90/91ish...and played out as a duo occasionally. We had a lot of influences but seems like many songs from this time had an XTC influence. We were in our late teens, early 20s so my memories are not that sharp :) Mix has some blend issues but fun to hear these again. Hope you enjoy. Not sure why we called it Lady Lexus...maybe Morry will remember and comment. Morry wrote this song.

Sleep

Lady Lexus - Original

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

500 bodies

Original Score inspired by the Todd Keisling novel Devils Creek

Father Jacob

Written and performed by David Cooper.

Say hello to the sun
Come on baby let’s run
We gotta be number one
Where no one else has gone

Tell me how far can you see
And what will be, will be
As the tide rolls in from the sea
Why?  Please someone tell me

Chorus

What you tell me I don’t feel
Oh you told me, Oh you told me
Though in time it will heal
Let me hold you, let me hold you now

Just close your eyes very tight
Can you see beyond the light
And try as hard as we might
Not everything is black and white

Chorus x 2

Say hello to the sun x 3

Say Hello To The Sun

Last Tango In Brussels - Το Τελευταίο Ταγκό Στις Βρυξέλλες

Waterfall

My remix of “Route National 20” by Zuunzug Field Recording that you can check on his SC page:

https://soundcloud.com/zuunzug-field-recording/route-nationale-20?si=c1e9fb177f914583ac7c46765f5d65da&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Very difficult to mix but loads of fun:) Decided to follow the bpm that my Octatrack suggested (82 bpm) when loading Zuunzug’s field recording into the sampler. This pushed me into a direction I hadn’t planned for.

The beginning has no FX added to the original file except for a LP filter and some compression from the OT. The ending has pitchshift/reverb/stereo delay added (externally) to accentuate the sample & those final micro modular tones. 4 synths were used, bass was courtesy of a Behringer Neutron.

Please listen on headphones as the stereo effect is more prominent:)

NB: Anyone wanting to remix this track should PM me first for an unmastered version!

Zuunzug Field Recording (Brillman Remix #2)

Performed by Yelena & bitzone
Yelena (vocals, acoustic guitars, MIDI programmed VSTs)
https://soundcloud.com/bitzone (synth, samples, voice, bass, bassdrum, claps, and production)

Image: llustration from Art et Decoration, Paris 1897-1911

Used Illusions

I used to dream of gentle breeze
And laughter floating on the waves
Of crystal river
I had illusions, I used them all
I didn't leave a single drop
Not a drop

My hope runs thin
Nowhere to hide
Such a strange place
Rain pouring down
Leave all you have
Take me with you
And fly away
Away
Away

Leave it all behind
Take me with you and fly
Away

I look in every pocket, in every drawer
For any dream I may have put away
But nothing there
I hear the sound and rush inside
It's only the beating of my heart
Just my heart

My hope runs thin...

_____________________________________________________________________
Song trailer on Pinterest: https://www.pinterest.com/pin/858076535250675883/

Stream/Follow

Used Illusions [bitzone production]

⚡ Synthwave energy unleashed! ⚡ Shock the Algorithm returns with a brand NEW album — Ultraviolet Cosmos.
https://shockthealgorithm.bandcamp.com/album/ultraviolet-cosmos

🌌 Available NOW on Bandcamp — grab your digital copy today and step into the neon! 🌌