Composer - Garvit Narula
Producers - Polymancer
Mixing Engineer - Polymancer
Mastering Engineer - Garvit Narula

Album Artwork Photography - Aayush Agrawal, Jason Singh Konthoujam, Somesh Poonia, Divya Rao
Album Artwork Editing - Garvit Narula

-

[Verse 1]
You’re laughing
I’m stalling
Searching my head for the shape of your name

Feels like it’s hiding
Behind every word that I’m trying to say
But your perfume’s on my sleeves
Like you’re pressed into the seams

You lean in close
And my mind just blanks again

[Chorus]
I keep forgetting your name
But I can’t forget your scent
It’s living in my sweatshirt
Every day
Every breath
Red hair burning like the sun
I’m staring till it hurts

I keep forgetting your name
But I remember you first

[Verse 2]
Bar light on your freckles
You say it once more and I swear it’ll stay
But vowels slip through my fingers
Like sand I can’t hold
They keep falling away

Still my hoodie’s full of you
Front pocket
Cotton blue
I walk home alone
And you’re all that pulls me through

[Chorus]
I keep forgetting your name
But I can’t forget your scent
It’s living in my sweatshirt
Every day
Every breath
Red hair burning like the sun
I’m staring till it hurts
I keep forgetting your name
But I remember you first

[Bridge]
Say it again
Slow on my lips
I’ll write it in the fog
On the window with my fist
If it fades
If it fades
There you are anyway

In the scent on my chest
And the color of your flame

[Chorus]
I keep forgetting your name
But I can’t forget your scent
It’s living in my sweatshirt
Every day
Every breath
Red hair burning like the sun
I’m staring till it hurts

I keep forgetting your name
But I remember you first

sweatshirt

Inspired by a really old tune, written by B2K whilst playing in the groundbreaking college band, William's Doll! 

Then further inspired by Juju music of West Africa, Nigeria, and its outstanding musicians, such as Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .

Kinda sounds like Clapton's "Lay Down Sally" riff played in Africa.

-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, saxophone section, trombone

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/Speaker: Fender Rivera-era Super Champ - 8” JBL K-110 speaker

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - initially all live, one take, edited for duration only.

Lesson to be Learned Jam (III)

This  track was inspired by a really old tune, written by James G.D.P. whilst in High School, then played in Seattle's groundbreaking four-piece ensemble, "'Fused."

Then further inspired by the juju music of West Africa, Nigeria, and musicians like Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .
-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, flute/glockenspiel

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/SpeakerMic: Fender Rivera-era Super Champ - 8” JBL K-110 speaker - Sennheiser e906

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - all live, one take, edited for duration only.

Original album art by B2K, as assisted by A.I.

Women Jam (2)

This  track was inspired by a really old tune, written by James G.D.P. whilst in High School, then played in Seattle's groundbreaking four-piece ensemble, "'Fused."

Then further inspired by the juju music of West Africa, Nigeria, and musicians like Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .
-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, flute/glockenspiel, cello

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/SpeakerMic: Fender Rivera-era Super Champ - 8” JBL K-110 speaker - Sennheiser e906

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - all live, one take, edited for duration only.

Original album art by B2K, as assisted by A.I.

Women Jam (4)

Another study inspired by that really old tune, written by James G.D.P. whilst in High School, then played in Seattle's groundbreaking four-piece ensemble, "'Fused."

Then further inspired by the juju music of West Africa, Nigeria, and musicians like Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .
-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, flute/glockenspiel

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/Speaker: Fender Rivera-era Super Champ - 8” JBL K-110 speaker

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - initially all live, one take, edited for duration only.

Juju Women Jam (ii)

Inspired by a really old tune, written by B2K whilst playing in the groundbreaking college band, William's Doll! 

Then further inspired by Juju music of West Africa, Nigeria, and its outstanding musicians, such as Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .

Kinda sounds like Clapton's "Lay Down Sally" riff played in Africa.

-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, saxophone section

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/Speaker: Fender Rivera-era Super Champ - 8” JBL K-110 speaker

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - initially all live, one take, edited for duration only.

Lesson to be Learned Jam (II)

Juju Women Jam (i)

This  CODA was inspired by a really old tune, written by James G.D.P. whilst in High School, then played in Seattle's groundbreaking four-piece ensemble, "'Fused."

Then further inspired by the juju music of West Africa, Nigeria, and musicians like Fela Aníkúlápó Kútì, King Sunny Ade', and his African Beats . . .
-----------------------------------------------------------------
B2K: electric guitar, loops, MIDI: rhodes piano, tenor saxophone, flute/glockenspiel, cello, trombone

and endless gratitude for both the intrepid:

Oh: drum kit/trap set, and

Tree: bass guitar
-----------------------------------------------------------------

Electric Guitar: 1984 Alembic Electrum (prototype)

Pedals: Musictronics: Mutron Octave/Divider, Mutron Phasor II, Mutron III (envelope); Tube Works Real Tube Overdrive, Ibanez AD-9 Analog Delay, Thomas Organ Cry Baby Model 95, Ernie Ball Volume, Saturnworks 6-pedal connector - Loops: Digitech Trio+ - MIDI: Roland GR-20 Guitar Synthesizer + GK-3 Divided Pickup

Guitar Amp/SpeakerMic: Fender Rivera-era Super Champ - 8” JBL K-110 speaker - Sennheiser e906

Recording: direct to Tascam Model 12, (24 bit @ 48kHz) - all live, one take, edited for duration only.

Original album art by B2K, as assisted by A.I.

Women Jam (coda)

Women Jam (3)

Feenin Remix (Myspace, Ep. 1)

Season 2, Episode 12 | The Triple J Sports Podcast 🎙️

This week, host Phil Rasmussen sits down with Jesse Pruitt, assistant coach for Cal Poly Men’s Basketball, for an honest conversation about the realities of college athletics in today’s game.

Jesse shares his perspective on what college sports look like in 2026, from the ongoing impact of NIL and the transfer portal to the growing differences between conferences like the Big West and the Big Ten. He opens up about why he chose coaching as his path, the challenges that come with developing young athletes in a constantly shifting landscape, and the responsibility coaches carry beyond wins and losses.

The conversation also dives into the space between where you are and where you want to go; the work, patience, and belief required to close that gap, both as a player and as a coach. Jesse offers thoughtful insight on growth, accountability, and staying grounded while navigating pressure, expectations, and opportunity.

This week we dive into:
🏀 The reality of college sports in 2026
💼 NIL, the transfer portal, and how they’re reshaping programs
📊 Big West vs. Big Ten: resources, exposure, and expectations
🎯 Why Jesse chose coaching and what drives him every day
📈 Closing the gap between potential and progress

It’s a real, reflective conversation about development, adaptability, and finding purpose in the process.

📢 Listen, subscribe, and stay tuned for more great conversations on the Triple J Sports Podcast!

Jesse Pruitt | Season 2, Episode 12 | Triple J Sports Podcast

breath

Expansive 1 AM

A DJ mix of Hawaiian Reggae Jams I recorded live in Oceanside, CA.  Shout out my Big Island Ohana! LOVE!

Chaps One-Hawaiian Reggae Mix 2

Recording environment
Digital Piano: KAWAI CA9500GP. 442Hz, Loudness
Home Recording: ZOOM h1nvp 48k 16bit wav

Blog link
https://pulchraflow.blogspot.com/2026/02/260213-improvisation-hirahira.html

© pulchraflow

260213 improvisation hirahira ひらひら

WASTED LOVE 4 MY VALENTINE'S... (voice Elisa Intet Lichtblau)

1	Sesquioxides (version 1) Analogous Doom/Sesquioxides 
2	Aphelion Analogous Doom
4	Solvent - RDJCS5ep - 01 Curtains
5	Solvent - RDJCS5ep - 02 Radiator
https://soundcloud.com/edmx/k-n-o-p-p-l-e-r-e-f-f-e-k-t?si=231b8016a8f64bb49c5dd09385a7d1d2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
6	Solvent - RDJCS5ep - 04 Mould	
7	Solvent - New Ways- Music from the Documentary I Dream of Wires - 01 Themogene (I Dream Of Wires Theme)	
8     Solvent - New Ways- Music from the Documentary I Dream of Wires - 02 Transfer Function	
9	Solvent - New Ways- Music from the Documentary I Dream of Wires - 02 Transfer Function	
10	Solvent - New Ways- Music from the Documentary I Dream of Wires - 03 Quantimations	
11	Solvent - New Ways- Music from the Documentary I Dream of Wires - 10 Bucket Brigade	
12	Solvent - New Ways- Music from the Documentary I Dream of Wires - 18 Interstitial C	 
13	Solvent - Demonstration Tape (1997-2007) - 01 Science With Synthesizers	
14	Solvent - Demonstration Tape (1997-2007) - 03 Wish	
15	Solvent - Demonstration Tape (1997-2007) - 05 Basildon
16	Solvent - Demonstration Tape (1997-2007) - 06 Creepy Crawler	
17	Solvent - Demonstration Tape (1997-2007) - 07 Think Like Us	
18	Solvent - Demonstration Tape (1997-2007) - 10 For You	
19	Solvent - Demonstration Tape (1997-2007) - 12 Sample And Hold	
20	Solvent - Demonstration Tape (1997-2007) - 13 My Blue Car	
21	Solvent - Demonstration Tape (1997-2007) - 15 My Radio (Extended)	
15 My Radio (Extended).wav
22	Solvent - Demonstration Tape (1997-2007) - 16 Flexidisc
23	Solvent - Demonstration Tape (1997-2007) - 17 Built-In Microphone	
24	Solvent - Demonstration Tape (1997-2007) - 18 Black Turtleneck	
25	Solvent - Demonstration Tape (1997-2007) - 20 Tonka Truck	
26	Solvent - Demonstration Tape (1997-2007) - 24 Flexidisc (ADULT. Remix)	
27	Solvent - Demonstration Tape (1997-2007) - 27 For You (JDSY Remix)	
28	Signalform - Private Channel - 09 Poly	
29	Sesquioxides (version 1)	
30	Aphelion	
31	Ordinary love - didou	
32	Empty Like Vugs.
33	K N O P F L E R E F F E K T	
34	October(love song)Chris & Cosey Cover	
37	Solvent - Demonstration Tape (1997-2007) - 16 Flexidisc	
38	stand by me moins 1demi ton - didou	
39	AFX - Hangable Auto Bulb - 07 Every Day
40	voglio danzare moins 1demi ton - didou	
41	AFX - Hangable Auto Bulb - 07 Every Day	/
42	incantevole +3 tons didou	
43	Solvent - New Ways- Music from the Documentary I Dream of Wires - 03 Quantimations	
45	sweet dream2 moins 1 ton - didou	
46	Solvent - Demonstration Tape (1997-2007) - 03 Wish	
47	subsonica - didou	
48	Solvent - Demonstration Tape (1997-2007) - 05 Basildon	/
49	Solvent - Demonstration Tape (1997-2007) - 10 For You	
50	Solvent - Demonstration Tape (1997-2007) - 13 My Blue Car	
51	Solvent - Demonstration Tape (1997-2007) - 17 Built-In Microphone	
52	Solvent - Demonstration Tape (1997-2007) - 18 Black Turtleneck	
53	Solvent - Demonstration Tape (1997-2007) - 22 Duckie
Sesquioxides (version 1)		7:46				0	
Aphelion		3:29				0	
Ordinary love - didou		6:17				0	
Empty Like Vugs		2:28				0	
K N O P F L E R E F F E K T		3:06				0	
October(love song)Chris & Cosey   Cover		3:55				0	
Secret Locus		3:47				0	
		0	
subsonica - didou		4:51				0	
Solvent - Demonstration Tape (1997-2007) - 17 Built-In Microphone		4:37				0	
Solvent - Demonstration Tape (1997-2007) - 18 Black Turtleneck		6:25				0	
Radial Symmetry		3:37				0

uiregueusbngiuerbngibenibnrebn

I'm Not Polyamorous

Thank you for listening.



----------------------------

I'm Japanese living in Tokyo.
I've been playing piano for over 40 years, and electric piano for more than 30.
You'll find more details below.

----------------------------


pulchra - from the first Kanji of my name.
flow - the left radical of the second Kanji of my name.
p f - short for pianoforte.

----------------------------

I subscribed to NextPro because it offers unlimited uploads.
- I practice classical pieces that I want to perform, and upload recordings with fewer mistakes.  
- I record adlib/improvisations whenever I feel like playing simply moving my hands.  

----------------------------

I started with a toy piano.  
More than 40 years ago, my grandfather gave me a mahogany Kawai upright piano.
I studied piano with an elderly woman in my neighbourhood, who wore colorful clothes and loved the Electone as well as the piano, from the age of 5 to 17.  
In high school, I played electric bass in a rock band with friends in a club.  (I haven't played bass since then, though.)

I entered university (not a music school or major) and joined a piano club.  The members, friends enjoyed playing the piano and explored  classical pieces, popular, jazz, and more - each in their own way.  


After graduation, I bought my first electric piano to play at night after work. 
I've replaced electric pianos due to broken parts.  
My current one is the third one.  I've been playing it for over ten years with a repair.


I began learning jazz because I wanted to know music theory. (I didn't - and still don't -  play jazz well.)  
First, I learned with a teacher who works as a writer and a translator. 
Later, I learned at the Kawai music school in Omotesando.  I learned theory and co-created a little music piece.
I also joined a small free jazz band, where one of my colleagues from work was playing.  

After that, again I returned to classical piano, studying at the music school.  
She taught me how to play with more fluency and elegance, and with greater attention to detail than I had learned before.

After that, I studied a little harmony and counterpoint on my own.


----
I create artworks using a drawing application called FireAlpaca.
I practiced Syodou (Japanese calligraphy) through my elementary school years, and took Shodou lessons in high school.  
I was a part of the art club for a few months in junior high school and created a self-portrait using oil paints.    
-----

- others -

I enjoy watching anime and movies with my husband.


I often use my hands, body - sensing, adjusting, etc.



I'm Japanese, born and living in Tokyo.

Note: I'm not an native English speaker, so fluent or casual conversational English can be difficult for me to follow.  When you kindly send a message, I appreciate language similar to what you'd find in a newspaper or textbook.
尚、日本語はくだけた表現でも何でも大丈夫です。
----------------------------

Channeling the Jams Muse in the Great Northwest!
Propulsive Rhythms, Infectious Grooves, Instrumental Americana for the People!

If you enjoy my tracks please consider directly supporting me here; as SoundCloud will not monetize my musical art. Thank you for your interest. I have been disabled for 2 years. Blessings. Cassy🩷

Existential Reflections on a Fragmented Reality

A World in Disarray
___________________

One take, no replay.

This world runs like a bugged dream on loop,

frames stuttering, dancers fading mid-gesture,

gravity forgetting what it promised yesterday.

The Nature of Impactful Expressions
___________________

I don’t drop rhymes.

I drop events.

Singularities disguised as syllables,

horizons folding inward when the verb collapses.

Spacetime spins on cracked K7s,

tapes chewed by history,

divisions bleeding through magnetic dust.

The Subtle Arrival of Truth
___________________

Pirates knew this first.

World-breakers after.

Truth doesn’t shout.

It arrives in waves,

low frequency, bone-deep,

wired into the calcium archives

of dead satellites still whispering coordinates

to nowhere.

The Inevitability of Decay and Loss
___________________

No brakes.

Only momentum mistaken for fate.

Only echoes learning to imitate meaning

inside a widening void.

Systemic Collapse and Loss of Data
___________________

Words degrade into glitch-errors,

syntax trembling like a city during a silent update.

The matrix didn’t crash.

It just stopped pretending there was a backup.

No save.

No trace.

Escaping Temporal Bonds
___________________

Detachment from Temporal Constraints

If this falls,

I was already elsewhere,

drifting between addressable moments,

unindexed by time.

The Illusion of Future Hope
___________________

Tomorrow's False Hope

I don’t think about tomorrow.

Tomorrow has no insight.

It borrows light from a star that already burned out

and calls that hope.

Cognition Based on Lingering Impressions
___________________

Perceiving Through Remnants

I think in afterimages.

In the residue left when belief evaporates.

In systems that keep running long after purpose

has quietly exited the room.

The Gradual Dissipation of the Future
___________________

The Leaking Future

The future isn’t coming.

It’s leaking.

Slowly.

Through hairline fractures in language,

through questions we keep asking

even after the answers dissolved.

Sustaining Unresolved Ideas
___________________

Embracing the Unfinished

I remain here,

not to arrive,

not to conclude,

but to orbit the unfinished thought,

letting it mutate,

letting it refuse closure,

for years,

for decades,

until thinking itself forgets

why it ever wanted an end.



sweatshirt, out now

contact - mgmt@thepolymaster.com

Chaps is a Dj/Producer hailing from Oceanside, California. He boasts an eclectic style with underground flavor and complex programming. This man has been rocking parties for 3 decades and his music collection and skills continue to grow, catch him at his “First Friday” residency at The Tremont Collective and his new monthly Day Party “Good Good” every 3rd Saturday at Booze Bros Oceanside.

*I HAVE THAT LOVE FOR MUSIC!!!

A uso who likes that feel good, mellow out, get hype, slap hard & cruise music. Its just my style. 

love R&B, Reggae, Rap/Hip-Hop 
and a little bit of everything else. 

Open minded and enjoy all types of music around the world!

Contact : olivernuageux@gmail.com

mono-tone aims to take the listener on an unusual, ambitious and immersive musical journey, where - while listening and dancing - all frontiers, on earth and beyond, seem to vanish. 
Groovy bass lines, atmospheric synths, complex drum machine sounds mingle harmoniously, leaving the listener orbiting in a fertile new space.

Ambient/drone/atmospheric/contemplative music can be experienced in the "Osci//ations" section. Dawless jams, endless pleasure.


https://soundcloud.com/pulserecords-ch

Side Project: https://soundcloud.com/gingerwildclub & https://soundcloud.com/entelechia-music

New tracks tagged #poly