Relaxing, flowing and with a great vibe. Nice! 👍

(Translation above)

Chanson écrite dans le cadre des ateliers d'écriture de Claude Lemesle, immense parolier français, avec pour double thème : "Violette et Narcisse" et "Amour subliminal".

Sur la très belle musique que DiVaDY m'a autorisé de mettre en chanson :
https://soundcloud.com/divady-j/find-love-again_instrumental-balade

Voix : Patrice Mary https://soundcloud.com/patrice-mary06

Amour subliminable

Quand je t’ai connue, c’était fête
T’aimais danser sur mes musiques
T’avais qu’un mot dans ton lexique :
Paillettes

T’aimais mes bouquets de violettes
Et mes parfums de chez Channel
Mais plus encore ta vie charnelle
Conquêtes

Et mes violettes ont fait la tête
Devant tes caprices de narcisses
Plus la peine d’entrer en lice
Défaite

Refrain :
À l’heure des comptes
Passent les pour, viennent les contre
C’est notre histoire impitoyable
Viennent les contre, passent les pour
Plus trop sublime, l’amour,
Subliminable

Et t’es partie un matin moche
Sans violettes avec tes narcisses
Sans même un début d’armistice
En poche

Plus de likes et plus de partages
Dans ma caverne je m’enferme
Toutes mes envies sont en berne
Naufrage
(refrain)

Myckaël Marcovic, le 11 novembre 2021

Song written during the writing workshops of Claude Lemesle, immense French lyricist, with a double theme: "Violette and Narcisse" and "Amour subliminal".

On the very beautiful music that DiVaDY authorized me to put in song:
https://soundcloud.com/divady-j/find-love-again_instrumental-balade

Vocal : Patrice

Subliminable love

When I met you, it was a party
You loved to dance to my music
You only had one word in your lexicon:
Glitter

You liked my bouquets of violets
And my perfumes from the Channel
But even more your carnal life
Conquests

And my violets made the head
Before your narcissistic whims
No longer worth the trouble to enter the fray
Defeat

Refrain :
At the time of the accounts
Pass the pros, come the cons
It's our merciless history
Come the cons, come the pros
No longer too sublime, love,
Subliminable

And you left one ugly morning
Without violets with your narcissus
Without even the beginning of an armistice
In your pocket

No more likes and no more shares
In my cave I lock myself up
All my desires are at half-mast
Shipwreck
(refrain)

Myckaël Marcovic, November 11, 2021

Amour subliminable (DiVaDY / Myckaël Marcovic) feat. Patrice Mary

A song about a man working his whole life, giving up everything and coming up short in the end.

Company Man

Don't question.  Don't feel:

Lead vocals & harmonies by Christian from 'To See Beyond the Shadows.'
Additional vocals by Robert from Patient 82.
Keyboards and drums played by Robert from Patient 82


Lyrics:

Verse 1 :

So many times, I've been here.
Shackled by a past lost in tears.
A slave to fears I can't overcome.
I turn my back on everyone.

Chorus 1

Don't question, don't feel.
Don't feel.

Verse 2

Within these walls there's safety.
Just a numbing of feelings that shape me.
I can't open up; the damage Is done.
I can't, not for you, not for anyone.

Chorus 2

Don't question, don't feel.
Don't feel.

Middle 8

No. I can't.
I'm bound and gagged.
By fear Inside.
How It paralyzes.

No. I can't.
These wounds, Implant.
A fear, so strong.
That I just can't see.

No. I can't.
I'm bound and gagged.
By fear Inside.
How It paralyzes.

No. I can't.
These wounds, Implant.
A fear so strong.
That I just can't see.

Verse 3

So how am I supposed to change this.
Just move on every time the fear hits.
In the end, I know I'll regret this.
But tonight, won't you, stay with me.

Chorus 3

Don't question, don't feel.
Don't feel.
Don't question, don't feel.
Don't feel.
Feel.
Feel.
Feel.
Feel.

Feel.

Don't question.  Don't feel.

Don't question.  Don't feel. (Patient 82 Ft. To See Beyond the Shadows)

When That Day Comes - Combstead / Robert grigg

Musique / Music: Ootol
Paroles, chant et jaquette / Lyrics, vocal and artcover: Lukowig

Paroles / Lyrics:

Foule le seul
endroit où les fleurs ne fanent
fouille le seuil
étroit : des pleurs y flânent
étouffés par le froid dallage
de l'âge

Sous les cimes
et les racines
des os se terrent...
Passe l'aïeul
qui sous son marbre se masque
s'étiole

Sous les cimes
la tristesse décime
des visages austères...
Passe la veuve
grise... les larmes la marquent
l'abreuvent

Graveyard

Graveyard [Ootol and Lukowig]

BLU RAIN

A jokey tune about a journey with some odd characters

Easy Train

ALEX E - Tears

Icytwat X 2017 Playboi Carti Type Beat - "Lurking"

Pre-Order
https://www.amazon.de/Chill-Out-Ambient-Lounge-Sound/dp/B01MDJM2C4/ref=sr_1_4?s=dmusic&ie=UTF8&qid=1476957863&sr=1-4-mp3-albums-bar-strip-0&keywords=DJ+Rob+De+Blank

DJ Rob De Blank - Innocent

Download

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

The Indianapolis Quartet: Robert Paterson - String Quartets 1-3

String Quartet No. 2 - III. Dolente

Singer/Songwriter/Engineer/Mixer/Producer from Houston TX
Lover of good art. Musician at heart. Experimentalist/Traditionalist.

BLU RAIN

SLARUESKI

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