MUSICIANS:
John Beckmann: vocals and electronics
Anaïs de Nerval: vocals and backing vocals
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
Recorded at Lus Astralis, New York, and Hana Road Studios, Montreux, Switzerland

CINEMATIC ROMP - Outro

MUSICIANS
John Beckmann: vocals and electronics
Anaïs de Nerval: vocals and backing vocals
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
Recorded at Lus Astralis, New York, and Hana Road Studios, Montreux, Switzerland

ROMP IN D Minor - Intro

FRENCH SUMMER

MUSICIANS:
John Beckmann: all music, and production
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
Recorded at Lus Astralis, New York, and 
Hana Road Studios, Montreux, Switzerland

BOSS A NOVA

SUN SEEKERS

SOMMEIL

IT’S DOPE

LOST HALO

MUSICIANS
John Beckmann: vocals, electronics and arrangements
Anaïs de Nerval: vocals and backing vocals
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
John Beckmann: producer
Recorded at Lus Astralis, New York, and Hana Road Studios, Montreux, Switzerland

SAINT TROPEZ TAN

BLING

HAND IN MY PANTS

MUSICIANS
John Beckmann: vocals, and electronics
Anaïs de Nerval: vocals, and backing vocals
Parker Bryant: guitars, and violins
Concertina: bass
Richmond Davis: keyboards, and organ
Beckett Laurent: percussion and programming
Recorded at Lus Astralis, New York, 
+ Hana Road Studios, Montreux, Switzerland

MONACO RENDEZ-VOUS

MUSICIANS
John Beckmann: vocals, electronics and arrangements
Anaïs de Nerval: vocals and backing vocals
Julia Chahayed: vocals on Boss A Nova
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
John Beckmann: producer
Recorded at Lus Astralis, New York, 
and Hana Road Studios, Montreux, Switzerland

SWEPT AWAY

MUSICIANS
John Beckmann: vocals, electronics and arrangements
Anaïs de Nerval: vocals and backing vocals
Beckett Laurent: percussion and programming
Recorded at Lus Astralis, New York, 
and Hana Road Studios, Montreux, Switzerland

BED, BAD, AND BEYOND

MUSICIANS
John Beckmann: vocals, electronics and arrangements
Anaïs de Nerval: vocals and backing vocals
Parker Bryant: guitars
Concertina: bass
Richmond Davis: keyboards and organ
Beckett Laurent: percussion and programming
John Beckmann: producer
Recorded at Lus Astralis, New York,
and Hana Road Studios, Montreux, Switzerland

WHAT’S YOUR NAME

MUSHROOMS

“Clouds Remember Everything” is a slow-moving deep ambient instrumental that blends atmospheric pads with dreamy textures, evoking the feeling of watching memories drift across a soft sky.

This track is designed for relaxation, reflection, and emotional escape, ideal for those searching for peaceful soundscapes that spark nostalgia. It’s perfect as background music for meditation, study, or emotional video projects.

If you're searching for:

dreamy ambient music for memory and reflection

soft atmospheric chillout music

relaxing ambient background for sleep or focus

cinematic ambient soundtrack with emotional tone

instrumental music that sounds like floating or remembering

…then “Clouds Remember Everything” is the music you're looking for.

🎧 Perfect for:
• Meditation & calm playlists
• Emotional visual scenes
• Sleep, relaxation, or deep focus
• Background music for rainy day thoughts
• Nostalgic cinematic edits

☁ Let the clouds hold your memories — gently, quietly, and endlessly.

Clouds Remember Everything | Deep Ambient Soundscape | Dreamy Chillout Instrumental for Memory & Reflection

Welcome to the SoundAds channel!  Here you will find uniquely generated music in a variety of genres. The channel is sponsored by webdelo.org.
Webdelo.org: Boost your US business with our online promo services! We offer competitor analysis, website development, coding, SEO, content creation, social media management, PPC ads, email marketing, plus analytics and optimization for growth.Use promo code “SoundAds” to get a discount on website development and promotion

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.

New tracks tagged #NostalgicSoundtrack