My Faith Has Abandoned Me

Alchemical [Fusion] is a haunting progressive rock epic that conjures the eerie specter of nuclear annihilation. The song's narrative is woven from the words of J. Robert Oppenheimer, who famously declared "I am become Death, destroyer of worlds" as he witnessed the first atomic blast. The track's haunting harmonies and driving rhythms evoke the apocalyptic consequences of nuclear war, as eerie audio clips from Harry Truman's announcement of the atomic bombings of Hiroshima and Nagasaki eerily underscore the song's themes. Through a maelstrom of soaring guitar solos and pounding drumbeats, "Alechmical [Fusion]" probes the dark heart of humanity's most devastating creation, leaving the listener to ponder the devastating consequences of our destructive potential.

Alchemical [Fusion]

Lyrics and vocal: TaNezha (Tetyana Nizhynska)
Music and production : Andrii Averin

English translation:
I will draw you forests
where the path leads into the distance
and the brightest thoughts shimmer in the sun's rays.
Birds will catch them on their wings
and take to the Black Sea.
There are no fears,
only the wind rustles in the waves,
and ships are sailing far beyond the horizon 
and there will never be a war.

Lis (Forest)

Searching

To The Stars

Buy / Stream

Sort of jazzy composition written almost exactly a year ago. Hope you enjoy!

Outside Agitators

24 1 1

12 string guitar and Turkish Saz ..

photo . Me in Türkiye enjoying a glass of Turkish  cáy (tea) 

Dance over sadness

Blackout

written, performed and produced by Richard Brown.

Lyrics:

I feel it comin I feel it within
My worlds getting darker the lights getting thin
I’m dying of hunger I’m dying to live
The spell that I’m under has left me in sin

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

It won’t be for nothin if I’m not to win
I’ll take what I’m given and drink it like gin
I’ll crawl through the darkness against the cold wind
And claw at your feet til you let me in

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

Blackout

Contemporary work for String Quartet, Woodwinds and Percussion.

My Method of Composing and Producing

I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Lis (Forest)

TaNezha

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