I once came across Andrei Pleșu’s idea of “writing at the counter”: you create when a commission comes in. Like a jukebox — someone presses a button, and you deliver the “product.”
And yet, if you live from your art, how often can it really be otherwise?

But there’s another kind of input. Not the pragmatic one, but something more elusive — an emotion, a story, a wound, a question that reaches you whether you’re ready or not. Then you compose not because you must, but because silence would be heavier than sound.

That’s how this piece was born. A sort of remedy written, without intention, for myself.
I composed it for the theatre play “Pe limba ta” (In Your Own Tongue) by Mihaela Michailov, directed by Radu Apostol.
The music connected naturally with the main character — a person without a voice.
Can you imagine what it means to be unable to say what’s on your heart?
To “speak” in a language that only a few can understand?

In a way, we all carry that within us — a place of the unspoken.
Not because we want to hide it, but because it simply doesn’t fit into words.
Music, sometimes, is the only way out.
It says what we cannot.

And when someone, listening, feels that same unspoken truth — that’s the miracle.

That’s why music “on commission” is never just a commission.
Something of yourself always seeps in — sometimes at odds with the project, sometimes saving it.
But that’s the most beautiful risk: that sometimes you don’t write the music you want to hear, but the one you need to hear.

PE LIMBA TA (full main theme)

(FR)LIA joue avec sa voix.
Chaque note semble deviner le monde,
chaque intonation, une étincelle de joie…une respiration ?

La série ExperImentAl explore la glossolalie générée par IA — cette forme de chant où la voix cesse d’être langage pour devenir pure émotion.
▸ La voix semble humaine… mais ne l’est pas tout à fait.
▸ Le langage paraît familier… mais ne veut rien dire.
▸ Et pourtant, l’émotion est bien là — palpable, non par le sens, mais par le chant.
(EN)LIA plays with her voice.
Each note seems to sense the world,
each inflection sparks a flicker of joy…A breath ?

The ExperImentAl series explores AI-generated glossolalia — a form of singing where the voice stops being language and becomes pure emotion.
▸ The voice sounds human… but isn’t quite.
▸ The words feel familiar… but mean nothing.
▸ Yet the emotion is here — not through meaning, but through melody.

Unsupervised Learning

I noticed a lot of you in the comments and DMs asking if I could upload the slowed version of the beat I sampled for Thank You for the Love. The original track is Tatsuro Yamashita – Fragile, and here’s my slowed take on it for you all to enjoy. Appreciate the love and support, always. ❤️

Thank You For The Love - Tatsuro Yamashita - Fragile

Madona - Fragile (Skin Bruno AI Version)

Cracked Media (unfinished)

fragile

A delicate, intimate and graceful piece for piano and strings. Mellow and fragile. Romantic, touching and pastoral. (Stem files available.)

For licensing, contact
https://www.LynnePublishing.com


Buy/License

Between the Pages

Il y avait un fil d’or,  
Tendu entre nos silences.  
Un fil discret, sans décor,  
Mais vibrant d’espérance.

---

[Refrain 1]  
Et puis un jour, sans bruit,  
Tu l’as laissé tomber.  
Je tends encore la nuit  
Pour le raccommoder.  
Mais le fil ne répond plus,  
Et mon cœur reste nu.

---

Je ne sais pas ce que j’ai fait,  
Mais je le porte comme un secret.  
Ton absence est un cri muet  
Qui me traverse sans arrêt.

---

[Refrain 2]  
Je t’aime, même si tu m’oublies,  
Même si tu fuis sans un mot.  
Je t’aime, même si je plie  
Sous le poids de ce fléau.  
Je t’aime, et c’est ma folie —  
Mais c’est aussi mon drapeau.

---

Si un jour le vent te ramène,  
Je serai là, sans chaînes.  
Avec mes bras, avec mes larmes,  
Et tout l’amour que rien ne désarme.

---

Tu m’as fermé la porte,  
Mais je garde le couloir.  
Et mon cœur bat encore  
Pour toi, dans le noir.  
Je t’aime, même sans retour,  
Même sans raison, sans détour.

Le Fil

Le fil

Your Love

“Delicate Overlay” lives up to its name — a finely woven piece where subtlety and precision intertwine. Archer 23 crafts a sound that feels fragile yet deeply intentional, layering soft synth textures, glimmering percussion, and faint melodic threads that seem to hover in suspension.

There’s a quiet emotional gravity beneath the surface — each tone feels placed with care, as if balancing on the edge between structure and atmosphere. The track shimmers with restraint, inviting close listening rather than demanding attention.

It’s an elegant exploration of contrast: organic warmth beneath digital sheen, motion within stillness. “Delicate Overlay” showcases Archer 23’s ability to turn minimalism into meaning — a sonic study in grace and control.

Delicate Overlay

(FR) Biographie 
Entre ombre et lumière, souffle et silence.
Explorateur sonore aux racines multiples, je compose des fragments d’univers,
des pièces expérimentales portées par une voix non lexicale, sans discours, mais jamais sans émotion. Chaque titre est une énigme ouverte.
Je ne cherche pas la norme, mais l’écho intérieur, l’émotion à partager.
Écouter, c’est traverser. Composer, c’est traduire l’inconnu.

Cette très belle citation de Michel-Ange résume ma façon de penser :
« J’ai vu un ange dans le marbre et j’ai seulement ciselé jusqu’à l’en libérer. »

(EN) Biography
Between shadow and light, breath and silence.
A sound explorer with many roots, I compose fragments of universes — experimental pieces carried by a non-lexical voice, without words yet never without emotion. Each track is an open enigma.
I do not seek the norm, but the inner echo — the emotion to be shared.
To listen is to cross through. To compose is to translate the unknown.

This beautiful quote by Michelangelo captures my way of thinking:
“I saw the angel in the marble and carved until I set him free.”

Lazriel Fontaine is a London-based composer and avant-garde sound designer whose music drifts between cinematic orchestration and experimental electronics. Born in Hannover, Germany, while his father was stationed abroad, Lazriel spent much of his later life moving across the world — a journey that shaped the diverse textures and emotional range of his work.
His compositions draw inspiration from artists such as Ludovico Einaudi, Two Steps from Hell, Dexter Britain, and the nostalgic pulse of 80s synthwave, blending them into pieces that are both hauntingly intimate and grandly expansive.
Fontaine’s music often explores the tension between structure and improvisation, weaving together influences from classical minimalism, film scoring, and modern sound design. Each piece feels like a landscape — shifting, atmospheric, and deeply tied to memory and movement.
Though eclectic in style, his work remains united by a search for resonance: music that lingers, unsettles, and uplifts.

Lynne Publishing is a music label representing a library of high-quality, carefully developed and curated production music, available to license for use in your own media.We develop our own music with contracted professional composers, both young and exciting talents and experienced film- and TV composers.

All our music is available for easy licensing for use in media creations, such as videos, films, games, TV, online, social media, corporate use, etc. To obtain a Master Synchronization license for any of music, contact us via www.LynnePublishing.com

Sebastian Androne-Nakanishi is an award-winning composer whose work bridges the worlds of concert music, film, theater, and video games. Known for his versatility and emotional depth, Sebastian creates music that not only captivates the listener but also forges lasting connections. Whether crafting evocative soundscapes for film or composing intricate orchestral works, his compositions have been performed across Europe and beyond by esteemed ensembles and orchestras.

Having studied in Romania, the UK, France, and Switzerland, Sebastian holds a Doctorate from the National University of Music in Bucharest and a Master's in composition for film, theater, and media from the Zurich University of the Arts. His music is about storytelling—sculpting sound into narratives that speak to the soul, leaving a lasting impression. Whether you're looking to collaborate or simply experience something unique, his work offers a powerful and immersive journey.

Welcome — I’m so glad you’re here.

I’m Yariksha, a singer and poet from Montréal, Canada, crafting songs that blend ritual, emotion, and sonic exploration. My lyrics are entirely my own creations, and many are deeply autobiographical — born from lived experience, transformation, and love.

I compose using a blend of intuition, AI collaboration, and digital tools, shaping each piece with care, emotion, and intention. My music spans folk ballads, ambient textures, intimate jazz, cathartic rock, and more — always guided by the story I want to tell.

I sing in Mhàraé (a language I created), as well as French, English, and Gaelic, weaving together cultures and emotions in sound.

I’m also passionate about musical anthropology — I research ancient cultures, histories, and musical traditions, from the Celts to Mesopotamians to Egyptians, and so on. These influences subtly infuse my creations, adding depth and resonance to the sonic landscapes I explore.

If something here resonates with you, feel free to follow, share, or write to me. I’d love to hear what you feel.

Thank you for listening.

New tracks tagged #fragile