THIS LIFE ACCEPTED closes the journey with stillness and clarity.
After conflict, movement, and reflection, the track settles into presence — not fixing what came before, but accepting it.
There’s no resistance left here. Just space, breath, and the quiet understanding of where you are.

THIS FOUND YOU FOR A REASON

THIS LIFE ACCEPTED

the taste of cherry
Lava is all ash now
"something of the past"
but you can still hear it flowing
now to ask... what of the ash?

This is the death of Cam Lava. The last opened seal.
I say death but it's not really that. I'm still here, but Cam Lava is now kept somewhere safe within me, away from the madness he cried out about. In a place of peace and protection.
As for Me, as a body, a soul, and a vessel for Lava, I'm headed where I've always been looking, and though the sight could never be clear, I know it's beautiful there, and I know how to get there. Maybe you'll see me sometime.
Signing off now. It's been a beautiful 8 years.
Peace Forever, 
Thank you, Goodnight.

PRODUCERS: 
who? (prod. rubbish) balloons (prod. rubbish)
 rehab! (prod. NEWFOUND)
 i c no 1 (prod. rubbish + innsmouth)
talk crazy (prod. DANE 2000)
 goodwill fleece (prod. rubbish + hottubjohny)
 science is scary (prod. DANE 2000)
 turn to life (prod. DANE 2000) 
the headless mind (prod. DANE 2000)
thank you, goodnight (prod. DANE 2000)
Another shoutout to these beautiful human beings. Rubbish and DANE 2000 have been a huge part of this journey. You will see these names mentioned throughout. They are insanely talented.
 I do not own the rights to these beats and make no profits from this work. I don't plan to, so feel free to purchase these beats from their respective owners. (I do own the rights to my poetry (lyrics) and cover arts.)

turn to life

goodwill fleece

balloons

There are recording sessions you remember for the technical challenges. There are sessions you remember for the creative breakthroughs. And then there are sessions that break your heart and never quite put it back together.

"Requiem per un Rivoluzionario" was the latter.

Carlo came to me in December 1973 with a composition notebook filled with fragments - poetry, musical phrases, sketches of movements. He was shaking when he handed it to me. "I need to do this," he said. "For Stefano."

I never knew Stefano's full name. Carlo never told me, and I never asked. What I knew was this: a friend of Carlo's, a young man barely out of his teens, had died in political violence in Milan in 1972. Carlo had carried that death inside him for over a year, unable to speak about it, unable to write about it. Until now.

The concept was ambitious - a five-movement requiem that would trace a revolutionary's journey from hope to death to forgotten silence. We would need a full orchestra. We would need days of studio time. We would need choir arrangements that could capture both the sacred and the profane. Most importantly, we would need Carlo to go to a place emotionally that I wasn't sure he could survive visiting.

I brought in I Virtuosi di Roma. When I first explained the project to Maestro Benedetti, he was skeptical. "A rock band wants a classical orchestra for a political protest song?" he asked. I played him Carlo's demos. Twenty minutes later, Maestro Benedetti had tears on his cheeks. "We will do this," he said simply. "This matters."

The choir took three days to record. We worked with a vocal ensemble that specialized in sacred music - they understood the weight of the requiem mass, the solemnity required. But we weren't creating traditional liturgy. We were creating a funeral for a boy who died believing in something, and whose death changed nothing. The choir had to sound both celestial and heartbroken.

Movement I came easily. Carlo sang about hope with his eyes closed, remembering what his friend had been before the world broke him. The strings wept gently behind him. It was beautiful.

Movement II required the full orchestra and took an entire day. The struggle, the march, the conviction of youth who believe they can change the world. The percussion drove forward relentlessly. Carlo's voice soared. For four minutes, we all believed revolution was possible. That's the tragedy of this movement - the listener believes too, right before everything falls apart.

Movement III destroyed us all. The betrayal. Carlo's voice cracked repeatedly during the recording, but we kept the breaks. They were real. When comrades turn on each other, when ideals corrupt, when the dream fractures - there's no way to sing that without your voice breaking. Several orchestra members were crying during playback. Maestro Benedetti had to take a break. "This is too much truth," he said.

But Movement IV...

Carlo refused to rehearse it. He said he could only do it once, that if he practiced the grief, it wouldn't be real anymore. So we set up the microphones, dimmed the lights, and I pressed record.

What came out was not a performance. It was a man reliving his friend's death in real time. Carlo sang about the lonely street, the confused fear, the blood on stone, the world that continued without noticing. His voice broke. He wept while singing. At one point, he almost couldn't continue.

Every technical instinct I had screamed to stop, to comfort him, to do another take when he'd composed himself. But something deeper - the producer's instinct for truth - told me to let the tape roll.

When it finished, Carlo collapsed onto the studio floor and sobbed for ten minutes. No one spoke. No one moved. We had recorded something too real, too raw. I wasn't sure if I'd helped create art or if I'd done something cruel.

REQUIEM PER UN RIVOLUZIONARIO (Requiem for a Revolutionary)

This Time is a New Year song without the fake promises.

It’s about finally being honest with yourself.
About choosing real change over empty resolutions.
About showing up after years of saying you would.

This song is for anyone tired of starting over every January and quitting by February.
No hype. No perfection. Just commitment.

If you’ve ever said “this year will be different” and meant it in your chest, this one’s for you.

Listen with intention.
This time is different.

This Time

Dry Resolution

New Month, New Vibe
For those moments when life feels overwhelming and you just need to step back.

Background image by my friend:
http://www.youtube.com/@TKAZ-d9r
tiktok.com/@user746959397

Continuum

A warm, intimate chamber-cinematic piece about telling the truth without fear of humiliation. It begins with a guarded, defensive hush, then gently opens into safe clarity: muted strings and simple piano steps create steadiness, bansuri adds compassionate breath, and a barely-there tanpura/shruti drone holds quiet support. The ending resolves into a calm, reliable cadence — truth with kindness, repair without pressure.

Honesty without Shame

There comes a point when the body stops preparing for impact.

Peace lives there.

The build resolves.
The tension releases fully.
What once needed effort now feels natural.

Not numb.
Not detached.
Just integrated.

The final movement of Return to Center.

Peace

Cosmic Canna Beats delivers a unique blend of R&B and Rap trap beats, perfect for artists seeking a cosmic sound that resonates with both smooth rhythms and hard-hitting vibes. Our beats combine soulful melodies with deep basslines and intricate drum patterns, creating a distinctive soundscape that elevates any track. Whether you're crafting a slow jam or a high-energy anthem, Cosmic Canna Beats provides the perfect backdrop to inspire your musical journey.

One Kid That Happens To Like Music.

I Mostly Focus On Liquid DnB But I Experiment Too

4 Months In Making | Join the ride :D

As a producer/songwriter my goal is to create modern RnB (and some other genres as well) rooted in confidence, self respect, and real emotion.
My music speaks to growth, reflection, and knowing your worth without apology.
Every song blends smooth melodies, honest lyrics, and late night energy.
This is music for people who choose peace, move with intention, and never shrink to fit.

Turning real life into sound—love, grief, healing. A studio project where emotion meets structure, shaped in late nights with focus, restraint, and intention.

Award-winning filmmaker, former tenured Associate Professor at Columbia College Chicago, and Contributing Author for multiple literary journals, Julian writes a wide variety of fiction and non-fiction work. Find out more at www.juliangrant.com.

Gerardo Guzman is a composer of electronic music of the Trance and Synthwave genres

He likes to be inspired to compose grooves with the Mashcine and MPC drum machines as well as the Ableton Live Session Sample Mix. 

The compositions in his songs are layered to generate emotional moments when making the transitions of sounds in the instrumental groups

He likes electronic music because of the groove and because it is a means of artistic expression that cannot be politicized and allows him to give emotional variety to music fans


Gerardo Guzman es compositor de musica electronica de los generos Trance y Synthwave

Le gusta inspirarse para componer los grooves con las cajas de ritmo Mashcine y MPC asi como el Sample Mix de Ableton Live Session. 

Las composiciones en sus canciones las estructura por capas para generar momentos emocionales al hacer las transiciones de sonidos en  los grupos instrumentales

Le gusta la musica electronica por el groove y porque es un medio de expresión artística que no puede ser politizada y permite darle variedad emocional a los fans de la musica

Spotify profile: spoti.fi/2UwdBT0 
Instagram: @gerhardguzman

New tracks tagged #RESOLUTION