MUSICIANS
John Beckmann: all music, lyrics, and production
Lawson Mars: vocals and backing vocals
Lux Astralis, New York: recording studio

MEOW NOW

MUSICIANS
John Beckmann: all music, lyrics, and production
Lawson Mars: vocals and backing vocals
Lux Astralis, New York: recording studio

LYRICS
Baby your sweet taste of honey
melts on my lips like wine in the summer time.
Heaven could never look so fine, a little sweet taste of honey.
Ah ah ah ah ah ah ah ah
Going around, around, around, going around the world.
Going around, go around the world.
Golden light is dancing on your skin.
Your silhouette in the moonlight.
Every breath slow, the world's asleep, we drift away where the water's deep.
with a sweet taste of honey
Going around, around, around, going around the world.
Going around, go around the world.
Ocean glasses glimmering in your eyes.
Every mile just pulls me back to you.
Every sound is soft, the colors fade, we're lost inside this dream we've made.
with a sweet taste of honey

SWEET TASTE OF HONEY

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
I’d really like to see you,
I’d really like to see you,
One of these days,
One of these days...

One of these days,
We’ll meet there,
Where the crossroads
Kiss the sky,
Too bold to say goodbye,
Too shy to say I love you.

One of these days, I’ll find you,
Through the cracks of time’s refrain,
In the echoes of old laughter,
That washes away the pain.

The wind will whisper secrets,
The stars will light our way,
And all the words unspoken,
We'll have a fire gently burning.

One of these days, we’ll meet there,
On roads the restless paved,
Where the wild wind knows our names,
And the stars write their confessions.

I’d really like to see you,
I’d really like to see you,
One of these days,
One of these days...

ONE OF THESE DAYS (Alternative)

Standoff

Dedicated to Matt Jessup.  https://www.facebook.com/matt.jessup.5

The frustration of Governments and their inept spending/squandering of public money. The crazy decisions they make particularly this government as of 2025.
Photo:https://www.craiyon.com/en/image/ommFeuLbTt63OINAQhz-Sw

Insanity

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
What do you say when the heartaches, and night dragged on for so long ago
Whispers linger like faint echoes, the silence breaks with a gentle song
Oh, of the bittersweet rhyme
Oh, we just can't hide
Every moment feels like a memory, caught in a web of what used to be
Replaying laughter, joy and the tears
In the absence of love, face our fears
Oh, through the storms we will glide
Oh, when our hearts so will reside
In the shadows of longing, we find our way, every heartbeat sings of the words left to say
And as dawn breaks, we'll see the light, the colors of love painted in the night
Through the trials, our souls will aspire
With each new hope, we rise higher
In a tapestry woven, our stories unite
Together we'll dance, sorrow and light

LOVE'S A BITTERSWEET RIDE

Non-Automated

Airborn

the past is the past

I Want It All

I have always had an admiration of electronic synthesizer music. Particularly that of the the late 1970's and consequently the golden age of the 1980's, where groups like Depeche Mode, Japan, Gary Numan, OMD, Human League made their mark.

A bizarre influence was Mantovani to name a few. 

He was an Anglo-Italian conductor, composer and light orchestra-styled entertainer with a cascading strings musical signature

All these musicians were a great influence on myself and the music I now produce.

Along with the bass guitar, in which in my opinion works so well with this genre of music, I am happy with the sound produced in my compositions.
So here I am, producing my own brand of the quintessence sound.

Steller is a project about vulnerability and wit. Its a unified project that shapes up genres like pop, folk, rock, rnb, a little bit of jazz. wait, you like jazz? (and alot of 60's,70's, and ALOT OF 80's)

Retouch is a new retro wave and electronic rock producer Artem P.
Artem started in 2015 with minimum of gear and debuted with Pax EP, with an Arm of Creation becoming an instant hit. 

Long play “Light Years” release In 2017. Its’ top single “Dystopia” became the most played track of Retouch of all time.

2019 was an era of a dark synth wave album, “Obscure”. Experimental dark EP.

2021-23 years were times when Artem researched a new vision as an artist.
A new LP Technocracy is released on May, 10 2024


Buy/Stream: https://band.link/RZPM9
inquires: retouchmusic@gmail.com

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 #synthrock