Name: Simon's Theme by Terry Finch in Night Zephyr
Duration: 4 min 19 s
Description: People And Places, my first ever album, first released in 2019, this album has a theme (not a concept album), the songs are simply about people and places, the people are real, the places are mostly metaphorical landscapes.

Night Zephyr

My by: Craig Furkas
A Silverpick Production

"A Good Color On You" showcases Phantom Pink's undeniable talent as a songwriter and his ability to craft deeply emotive and thought-provoking compositions. His haunting vocals, accompanied by delicate acoustic arrangements and ethereal soundscapes, transport audiences to a realm where introspection and vulnerability intersect.

Written from a dystopian mindset drawing from his hometown Portland, OR, these songs represent the sad injustices and overall feeling of melancholy as modernity weighs down on young people.

Bloodbath

THE IDEA ARISED FROM THE QUESTION WHAT IT MEANS TO BE
CONNECTED. CONNECTION TO YOURSELF AND TO LIFE.
HOW CAN I REPRESENT THIS SUBJECT IN AN ABSTRACT WAY?

UNLEASH

SWING (ALYS Version)

Voidpetals Volume 1 by Andxwaves is a captivating blend of jazz, hip-hop, and lofi, crafting an urbane yet melancholic soundscape. As the debut work of this promising jazz-electronic composer, the album evokes the quiet elegance of city nights and the reflective stillness of introspection.  

Drawing inspiration from a surreal urban cosmic journey, the track titles and melodies unfold like delicate petals, revealing intricate harmonies, lush textures, and understated rhythms. The result is a refined and intimate listening experience, ideal for those drawn to smooth beats and atmospheric nuance. With *Voidpetals Volume 1*, Andxwaves offers a gateway to a world of sophisticated moods and heartfelt expression.

Falling Through Cracked Constellations

Don't Hate Me For Loving You

don’t hate me for loving you

The Wanderer

People And Places, my first ever album, first released in 2019, this album has a theme (not a concept album), the songs are simply about people and places, the people are real, the places are mostly metaphorical landscapes.

Simon's Theme

One Of Those Things

Evergreen - Acoustic

Hold On - Acoustic (Live)

from seanwaters.substack.com:

I’ve been on Summer Solstice Sabbath — just coming out of a three-week window of sacred down-time. Tree swings, swimming pools, and the songwriter studio, prototyping a PERMA-Cycle for Interpersonal Happiness Studies.  

Beautiful Questions: How could we collaboratively “demo” our creative gifts?  What if we embraced collaborative creativity as a lyric philosophy? 

A demo, to quote wikipedia, is “recorded for limited circulation or for reference use.” Demos are “seldom heard by the public.” Short for “demonstration” — a demo shows what a song might be. In the 80s, you record a demo to cassette in hopes of a record deal. 

Today, you might “sing the news” on TikTok. 

Or you might share a google drive folder with people you respect and see what happens. 

- - - - - - - - - 

To create a demo is to destroy a demo. 

You’re destroying the way it has been to make the room for something new. 

You’re destroying the draft to birth the revision.

You’re destroying what you thought you were making to make way for what wants to be born. 

When you produce a demo, it’s like you’re making a sand-painting. As soon as you’re done, if you’re lucky, you’re going to dump it in the river, and it will be reborn.  

.  . . . . . . . . . . . . . 

Sometimes I can’t let go of what I  love about a demo. We call it “demo-itis”: An attachment to how the song is now that prevents an embrace what it might be. 

This is a dangerous stance not only in music production, but also in long-term relationships with our lovers, our partners, our children, and ourselves. 

The trick, perhaps, is to accept celebrate what was, warts and moments-of-shining-brilliance and all, as a necessary aspect of what will be. Sometimes the demo (what was) makes the cut. But it’s healthy to let it go anyway, and trust that the well will refill. 

I always think of the Rick Rubin / Tom Petty sessions for Wildflowers, one of the all-time great albums: “half the songs they recorded . . . ended up on the cutting room floor.” 

. . . . . . . . . . . . . . . . 

Producer ↔️ Artist  ::  Facilitator ↔️ Friend 

How is the relationship between a producer and an artist like a facilitator and their clients and friends?  How like teacher/student, and coach/coachee?

The producer : 

helps the artist let go of what was

helps the artist see (and hear) what could be

works to bring out the best in the artist

sets the condition to honor the artist, considers set and setting  

attunes to the artist in real time  

listens for where the vision resonates  

makes the creative lifecycle go a bit easier

When you’re the producer and the artist, things can get messy.  

Which is one reason I’m sharing these early demos, warts and all. With any luck, we’ll make a handful of these tunes into something beautiful that I could never make alone. 

This is the essence of creation, education, and wisdom: it's more collaborative than you might think.  

. . . . . . . . . . . 

CREDITS: 
All songs written by Sean Charles Waters except: 
Feel it Swell, January Days, Lemon Memory and Patience written by Ehren Crumpler and Sean Charles Waters 

All vocals by Sean Waters with backing vocals by 
Brian Collins on Birds Like Me 
Anna Poliakon on Come Slowly Undone 
Erica Waters on Vampire 
Amara Waters on Box of Books and Pink Duckie 

All instruments by Sean Waters with 
Tyler Lindgren on Drums and Hammond B3 on Vampire
Zack Scott on Drums on Gifted Guitar, Summer Melts 
Dave Wisbon on Keys on Birds Like Me 
Ehren Crumpler on Electric Guitar on Box of Books, Bungalunga, Favorite Monkey, Seabird and Octopus, Adeline and Vampire 

All Instruments by Ehren Crumpler on Feel it Swell, January Days, Lemon Memory and Patience.

Production, Arrangements, and Engineering by Sean Waters
Production, Arrangements, and Engineering by Ehren Crumpler on Feel it Swell, January Days, Lemon Memory and Patience.

(c)(p) Syncopate Media 2025

FOR INQUIRIES / HANG WITH SEAN: 

sean@wisdomworkshop.io

📘 Adeline

daydream - iu , parkbogum

04 Roleplay - (BG MSTR 2) 4416

Welcome Home

I wanna love you i do

Terry Finch has two projects on Soundcloud, one is a collection of songs about life and the world and my own experiences.  The other is a collection of satirical songs that go under the band pseudonym of "Bloody Bollocks", I prefer not to mix the two together.  I am assuming the listener will be able to tell which is which.
Terry Finch is a professional guitarist with many years experience in many styles.  he has travelled the world as a musician.  All the music available here are written by Terry Finch, copyrighted.  I would like to put a band together to play original material and see if some degree of success could achieved with live performances and internet exposure.  This has proved to be extremely difficult despite a very positive response from audiences.  I hope you like my songs, if you are an interested musician, please contact me, I am in the Surrey area of the UK.  fnchtrry@hotmail.co.uk.
Many thanks Terry

Simon's Theme

Terry Finch

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