kb2band created in 2020.
we have not single method and like build  nice music in other chapter.
we are father and son and both sing and playing guitar.
we live in iran and like travel to other place of world.
we wish ear and like our music.
we are ready for cooperation with other music band around  the world.
like you😍🤩, and like you  follow us🌺✌️👌

https://instagram.com/kb2_music?igshid=OGQ5ZDc2ODk2ZA==
youtube : kb2band
facebook : kb2_music
telegram:  @kb2_music_band

*** For better listening, use headphones ***

I'm Antonio Porrino (Tonino).
Graduated in Physics in March 1979, I was Researcher in Theoretical Nuclear Physics at the "Federico II" University of Naples until November 2019.
I studied music, initially at the Conservatory of San Pietro a Maiella in Naples and then self-taught piano, organ and composition.
I have been married to Anna since July 1982 and we have 5 children, Fabio, Luca, Francesca, Cecilia, Vincenzo and 3 grandchildren, Antonio, Sofia and Vincenzo, Fabio's children, married to Sara.
I founded the polyphonic choir "Vicus Novanensis" in 1992 and in 2019 "I Cantori di Maria", which have collected the legacy of the numerous "long distance adoptions" of the previous choir.
The musical activity takes place mainly at the "Pontifical Minor Basilica of Maria Santissima Assunta" in Santa Maria a Vico (Italy).
I have composed music of various genres.
My music would like to express and transmit feelings of peace, serenity and joy, contrasting those of war, hatred and oppression that seem to prevail on planet Earth, causing the degradation of the natural environment that guards us.

Sono Antonio Porrino, per tutti Tonino.
Laureato in Fisica nel marzo 1979, sono stato Ricercatore di Fisica Nucleare Teorica presso l'Università "Federico II" di Napoli fino a novembre 2019. 
Ho studiato Musica, inizialmente presso il Conservatorio di San Pietro a Maiella di Napoli e poi pianoforte, organo e composizione da autodidatta.
Sono sposato con Anna dal luglio 1982 e abbiamo 5 figli, Fabio, Luca, Francesca, Cecilia, Vincenzo e 3 nipoti, Antonio, Sofia e Vincenzo, figli di Fabio, sposato con Sara. 
Ho fondato nel 1992 il Coro polifonico "Vicus Novanensis" e nell'anno 2019 "I Cantori di Maria", che hanno raccolto l'eredità delle numerose "adozioni a distanza" del precedente coro. 
L'attività musicale si svolge prevalentemente presso la "Basilica Pontificia Minore di Maria Santissima Assunta" di Santa Maria a Vico (Italy). 
Ho composto brani musicali di vario genere. 
La mia musica vorrebbe esprimere e trasmettere sentimenti di pace, di serenità e di gioia, contrastando quelli di guerra, odio e sopraffazione che sembrano prevalere sul pianeta Terra, provocando la degradazione dell'ambiente naturale che ci custodisce.
Alcune delle mie musiche sono anche su youtube (porrinomusic)

music for peace of mind
SPAM - https://soundcloud.com/yahri2

Bordeaux - Artiste Peintre - Pation : la musique.

Independent composer and musician, based in France.

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.

Followers of The Art of the Sun