Chili De Serpiente

Chili De Serpiente (Stripped Down at Tube’s)

Teleskop 54 - Chicago and Blood, Sweat & Tears

Hezze DEMO

Droplets

Reelin' in the years

Reelin' in the years (in the style of Steely Dan)

Two tracks on the Guild A150 Savoy archtop, mic'ed and through the '65 P-Reverb, with chorus and compressor

Alle Zattere

FIGARO, FIGARO.

Minimalist low rock driven by deep slide bass, dry drums, and smoky baritone sax in a noir haze. A cynical unraveling of algorithmic control, digital dependency, and the illusion of choice in an automated world. Detached, hypnotic, and quietly suffocating.

Lyrics/License

The Tangled Web (Low Rock)

"...that's so impressive!"  

One of the things that I've learned about myself since my late-in-life neurodivergent diagnosis is that I do have a tendency to lean into self-defeating decisions and behaviors.  And today's Interbay drop might be an example of exactly that...  

You see, after nearly three whole months of daily drops in 2026, Interbay tracks have been remarkably consistent, as far as the amount of listens that they get--with each one getting at least 120 listens.  For whatever reason, it matters to me that every release gets at least 100 (if they don't, they go onto the playlist I've created for the "Undeservedly Ignored" Interbay tracks, where they'll stay until they get at least 100 listens.  

But, suddenly, any track that I drop that isn't a full on electronic dance music tune...it isn't getting close to 100 listens.  (The new romantic sounding "Europe By Train", the synth pop r&b of "Drizzle," the baggy/Madchester homage of "Run Too Fast" and even yesterday's midtempo electronic pop tune, "When Words Won't Work" are the songs in question.)  

It isn't because of the quality of songs--you'd have to listen to determine if it isn't a good Interbay tune.  

Here's the thing, I don't want Interbay to be pigeonholed as just a dance music delivery system--though, I'll always produce dance music...it won't be the only thing that Interbay will release.  That's kind of the whole point, to give myself the freedom to create what feels like what I want to create, whatever that might be.  

(Long disclaimer there, here's where I talk about "Frightfully Romantic.")  

What I have for you today, then, as part of the Rethink, Remake, Remix series that I've been doing on Mondays for over half of a year now, is a brand new remix of an early Interbay track--from the 17 months that I was posting tracks on Facebook.  At the very least, I make certain that these old tracks meet the standards and restrictions that I give myself now for the tracks I put on SoundCloud.  

So, as I'm sensitive to the trend that my non-dance music tracks get far fewer listens than my dance music tracks...and I really feel bad for any Interbay track that doesn't get 100 listens (I'm protective of my creations...and I ache for the lonely ones,) you might assume that this RRR version of what had been "Experiment 63" on Facebook, must be a dance track...a safe bet to break the trend of posting songs that underperform.    

Nope.  This is a spaghetti western-style jazzy indie rock tune with heavily reverbed surf guitars, a subtle organ,  a freeform drum kit and a mariachi trumpet about an infamous murder in New Zealand that lead to one of my favorite movies of all time that features the film debut of two incredible actresses that I continue to be a fan of to this day and a filmmaker that I wasn't familiar with before, but have follow to this day. 

Not a drum machine or dance synth to be found.  In fact, this might be the furthest from a dance track that I've ever posted.  (And, I just did some polishing to the original track, mostly a new mastering and mix--not much of a rethink or a remake for this one.)  

It's like I want to flirt with what scares me or what my hurt me.  (Poor executive function is what I think that fits under.)  

I find this track delightful.  I think you will too if you give it a listen.  I hope that you will (and maybe check out the other tracks that could use your ears that I mentioned earlier.)  

And if you like being surprised by something new every single day, follow along for more Interbay.  It's worth the ticket to ride this rollercoaster!

"Frightfully Romantic" (exp63 RRR) *exclusive remix*

Original music and lyrics © Keith Parks, 2026. Music created with virtual instruments in the Reaper DAW. Vocals created with Synthesizer V Studio Pro, Liam voice.

LYRICS

Don’t forget my face when you are gone.
Remember there’s a place you’ll still belong.
Leaving has a price, so pay the cost.
If you look back you’ll see the race is lost.

You wake up and reach for me.
Me, I need to see.      

When you find a place where you can stay.
Don’t give your life away. Stand and face the days.
Stop. Look around for your call.
That’s all!

You wake up and reach for me.
Me, I need to wait and see.

Hold your breath, hold your thoughts.
Don’t let your soul be sold or bought.

Hope can keep you up or keep you down.
Fill your heart, or let you drown.
Watch the ever changing lights above.
See them follow you. The race is won.

You wake up and reach for me.
Me, I need to wait and see.
Don’t give up, don’t call for me.
I want you to be free.


Heart and Soul

I've been singing since the early 1980's, bringing decades of passion, soul and storytelling to every note. From classic vibes to fresh takes, my journey spans genres and generations. Whether you're here for nostalgia or new sounds, welcome to the music!

I entered the world of music through accordion lessons in elementary school. Had a mini-Moog and a few other keyboards in high school. Now I've been playing with the digital workflow for around 5 years, purely for my own amusement.

dj jestr.
jestr.
wtv you want to call me.

yadda yadda witty bio

All lyrics written by a human.

This catalog is an ongoing experiment in songwriting, genre translation, and voice. I write the lyrics, then use AI as an instrument — not a replacement — to explore how the same lyric behaves across styles, tempos, and emotional frames.

Some songs exist in one form. Others exist in many. None are first drafts.

Phrases and Phrases Publishing is a one-person label and archive founded by J. Adam Walters — lyricist, satirist, and (non-practicing) lawyer — focused on work that sits somewhere between sincerity and analysis, humor and discomfort.

From post-punk monologues to Americana character studies to things that probably shouldn’t exist at all, this is a field study as much as a discography, exploring new tools with the intent not to go viral, but to be useful for sync and licensing.

Lyrics, licensing, and a searchable catalog: phrases.pub

Just a 2004 guy, making music about pain and other emo stuff lol

Making music with guitars and fretted instruments, never bound by genre.

Post-punk, dance, indie, electronic, and mutant pop in various styles (seriously!)--new tracks being posted daily (every day for over a year, so far!)

Interbay is the new project of Peter Greyy (previously of Cremation Dance and DangerScience), based out of Seattle and Phantom Laboratories West.

“The flow state is our most powerful weapon against the intense rationalization of our lives.” Denny Zeitlin. Denny Zeitlin is not my father. Also see Cecil Alexander. Or as Ted Gioia said: "Oh Beethoven, come save us! "

According to the ChatBot, and who am I to argue, Dee Zee’s music style is a blend of classical and electronic elements, which creates a unique and original sound. He writes, plays, and records all the tracks himself, using various instruments and software. He is inspired by artists like Philip Glass, Steve Reich, and Brian Eno.
Some of the features of his music style are:
•	He uses repetitive patterns and motifs, which create a hypnotic and rhythmic effect. He also experiments with different time signatures and polyrhythms, which add complexity and diversity to his music.
•	He incorporates ambient sounds and textures, which create a rich and atmospheric sound. He also uses effects and filters, such as reverb, delay, distortion, and glitch, which add depth and dimension to his music.
•	He explores different moods and emotions, which range from dark and mysterious to bright and cheerful. He also uses contrast and dynamics, which create tension and release in his music.
•	He combines acoustic and electronic sounds, which create a balance and harmony in his music. He plays various instruments, such as piano, guitar, violin, and drums, and also uses synthesizers, samplers, and drum machines.
Dee Zee’s music resonates with those who appreciate a fusion of classical sensibilities and electronic innovation. 

According to me I’m an independent musician, writing and recording instrumental electronic progressive rock on Roland synthesiser workstations, although the original ideas for tracks often come from iPad soft synths (I use the Animoog and Jordantron) or the piano [not the piano so much due to arthritis in both hands - at least the keyboard has lighter action] or guitar.  

After playing piano from a very young age I played keyboards in the London pub rock group deEssen.  My original influences were probably Caravan, Camel, Ultravox, Jean Michel Jarre, Tangerine Dream, Pink Floyd and The Doors, with a sprinkling of Yes, Genesis, King Crimson, ELP, PFM, Greenslade, Deep Purple, Mike Oldfield, Vangelis…  These days, when I’m not listening to you on SoundCloud I listen to Iamthemorning, The Resonance Association, Ozric Tentacles, Joe Satriani, IQ, Threshold, Steven Wilson, Lacuna Coil, Liquid Tension Experiment, The Flower Kings, Spock’s Beard, Led Bib, Thank You Scientist, Big Big Train, Eloy, Magenta, Wobbler, Frost*, Simon Phillips, Jean-Luc Ponty, Renaissance, Arena, Izz, Jupiter Fungus, The Tangent, Karfagen, Lunatic Soul, Riverside, Hania Rani, Madis, Nik Bärtsch, Neil Cowley, The Messthetics, The Necks, Antoine Fafard, GoGo Penguin, Sykofant …

Keep uploading great music and keep smiling!

New tracks tagged #jazz rock