Gorgeous, beautiful, romantic and sad! Excellent work!!!   ❤️Love, 🕊️Peace, 🙏Respect

Deep, exotic and totally entrancing.  Absolutely gorgeous! 🎷✨❤️

Jazz Lounge

BlackBook - 20190616 III

Composed & produced by: Chivicke
HomeStudio Productions ©2021

Tangled In Your Hair

Tangled in your hair

A smooth jazz track with sax and an expressive voice.
Have fun listening!
https://youtu.be/eai_q4F6JvM

90 bpm

Starlight

And I uh

For the Majesty of This Fall, For This Fall Is the Beginning❤️
Composer and piano: Kianoush Kouroshi

The Fall- in her eyes (Kianoush Kouroshi)

Although this track was made as a response to:

after the typhoon
I walk around alone -
sunshine everywhere

Naviar haiku challenge 598, details here: https://www.naviarrecords.com/haiku-music-challenge

It strayed a bit; In the very early stages while I was designing a sound for "Walking in sunshine", everything is assembled in virtual modular using VCV Rack, I played a simple phrase that suggested that it wanted to be a sequence, divergence begins. Probably because I had another project in mind  the original phrase and subsequent sequence development borrowed quite heavily from Steve Reich, I split off that version and pulled back a bit for this track although the roots are still there hence the minimalism tag. 

With the sequences complete I went back and designed an intro, not quite a typhoon but serves as as opening. And an outro; not really sunshine but while experimenting with modulated frequency modulation I unexpectedly found a sound I'd been hunting for a couple of weeks ago, it made a nice contrast so I kept it.

With all the elements in place I set up and did a one take multi-track live improvised mix, I also manipulated a couple of probability parameters, other modulations were built into the patch. 

A couple of eternal effects:
There is a final layer of reverb wash derived from the sunshine element made with SpaceBlender from Soundtoys and included in the performance via recorded parameter automation.      

I added a little bit of tape echo, Stardust 201 from Cherry Audio, to the sequences.
 
After all the usual blending a tweaking I added The Free Vinyl plugin from iZotope, felt like it would fit on the opening of the track.

After The Typhoon - (naviarhaiku - 598)

Tillmann - Phase IV - 09 - Phase IV

Man’s Bestfriend
Prod. SlXtWrXsts

Lyrics: Can’t believe it’s been a month since the day I was born
I was born blind and scared half to deaf, couldn’t count with my paws
I use to drink milk from a teet, But now I’m bigger than before
How do I fill up my life with a treat? It’s not like before
And than I saw you
I was adopted by you, now I feel better, it’s like I’ve been living a dream
Wagging my tail, I’m happy, I get to exist
In somebody’s house, Oops I just pissed on the carpet
I am so free, deficated on your floor kit

New home, new playground
New food, new toys, I don’t play around
Big yard in the back I can run around
I can see, I can hear like every sound
Sleep, Play, eat, repeat
Oops stained, oops, defeat
Sorry dad, I’m just being mean
I just gave you something to clean

Can’t believe it’s been a month since the day I was born
I was born blind and scared half to deaf, couldn’t count with my paws
I use to drink milk from a teet, But now I’m bigger than before
How do I fill up my life with a treat? It’s not like before

Home

CHAINSMOKE (Final Final Demo)

Written & Recorded @ Studio B

Knock Em down now might not be here Later

HATE CATZ 4 EVA

Shotz Fired

This one—whoo boy. One of my oldest songs, made around 2014.
It’s one of those “cursed” tracks—but in a good way. The more I tried to perfect it years later, after learning all kinds of new tricks in Fruity Loops, the more it lost that certain magic I tapped into when I was younger. That raw energy is gone now, and while I can improve the song with better mixing, bass, synths, programming, and sound quality, every “improvement” risks erasing that special something—that je ne sais quoi, that zazz.

It’s like a reflection of me, frozen in time inside an MP3 file. The spirit of these early works is more important to preserve than to sacrifice in the name of perfection. Sure, it takes skill, dedication, and time to create a masterwork—but I also believe there’s genius in capturing a unique feeling with as little effort as possible. Kakaphoney is an album where I try to balance both philosophies, though most songs fall into the “finished, not perfect” category. My next album, after sharing Kakaphoney, will be an album I currently call "Tracks back from high school when I had no clue what I was doing", and it will feature all of the tracks I actually shared on Myspace, my edgy solo noise project "Spinal Menstruation", and yes I was a one man Myspace noise band. So, this album is a collection of my earliest works that embrace this "save the vibes fuck mastering" mindset and take it to another level - because i did not even know what mastering was back when I made those tracks ! 
Anyway, I did not listen to these primordial melodies (most of them made in High School) for many years, and once I did go over it finally relatively recently - I was stunned. Why did I just make so much music and then just forget about it ? And how the hell did I manage to stuff so much soul into every track with such little experience. I realized that the vibe these old tracks portray is unique and nowhere to be found in any of my newer, fancier tracks (Here’s one example from that project—a song that perfectly captures the weird energy that animated me when I was young : https://www.youtube.com/watch?v=N_R022SObfk
 
But yes - Nee-Cola was one of those tracks I dug out of those ancient folders, and when I found it and listened to it again after 10 000 years I remembered everything about it. It actually started out as something completely different—until I realized I’d accidentally programmed the main synth to sound like it was calling my name (Nikola). My original concept was to create a song that felt like a stage performance, with different synths and samples taking turns. But this main synth refused to just play a simple tune and stop—it fought to stay on stage and sing (the song was also named "It's my turn" back then). The other synths, including a deep bass, seemed to try to pull it back and silence it. As the track progresses, the main synth goes haywire, growing louder and more chaotic, eventually overshadowing everything else.

I was fascinated by what I’d made, but it felt a bit ridiculous to name a song after myself. Still, it fit perfectly with the Kakaphoney theme—synths that sound like voices, and non-voice synths manipulated until they seem to speak, as if they’ve gained a voice of their own. That’s the ultimate goal here, as it is in my “Suck On These Tears” track from the same album.

So instead of making it about me, I invented a fake cola drink with a name that sounds like mine—easier to explain, and far less narcissistic. So drink up bitchezz

Nee-Cola

Jord "Ride or Die"

I got a new guitar the other day and when I played it, it had a crisp sound that made me come up with the funky opening riff without even thinking about it. Sometimes an instrument can just make me play something. :)
I played the driving guitar solo in one go on a friend's Les Paul. Again, I felt like I was just being made to play it.
I'm not good at keyboard solos, and I always struggle with them. (^_^;
It's been four months since I moved here after a job change, and I'd like to start playing in a band soon.

Do As You Please

My Window (Jazz)

Nocturne I.,.

Moon

Where does the time go?  Sorry to have not been here for a long time, this is due to the change of my job and ultimately my personal time.  But I will return as often as I can.  

If you could see your whole life from start to finish, would you change things?
✨
But it is in the darkest night that the stars shine their brightest.
✨

Nocturne I.,.

Steve Coombes

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