THE MUTE is a protean creature.

It has no face, no identity of its own. It is made of everything that constitutes the world around us: sensations, feelings and emotions. His face is therefore in constant evolution, depending on what he perceives around him.

It represents our time, its successes, its progress but also of its defects. THE MUTE is condemned to wander in our world and testifies of what he feels by the music and by the multiple visual expressions of his face.

Discover now this 80's retro synth pop full of melancholy.

Rocket Science

King Big Shot Feat. Fat Pockets {Prod By Ace Ha}

Ambience (2004, 2025) – Listen to the sound of the waves
Drift away into another world by listening to soothing melodies and tranquil rhythms. Ambience is a peaceful escape or a soundtrack for introspection. Can you hear the sound of the waves?

This song is part of my album "Nightflight" which is available on all streaming platforms and Bandcamp.
https://too.fm/ndm-nightflight
https://nadinedemacedo.bandcamp.com/album/nightflight

Nadine de Macedo: composition, arrangement, synthesizer, sound design, programming, production
Photography: Nadine de Macedo

Where to find us:
https://www.youtube.com/@nadinedemacedo
https://nadinedemacedo.bandcamp.com

Nightflight

Ambience

Music, lyrics & production by Sergey Ruban

Adieu!

Happy When You Love

Another Morry creation from the basement studio. He's learning the harmonica! 

Image from: https://fineartamerica.com/featured/sun-breaks-the-cloud-albert-konig.html

THEN YOU APPEAR

небольшое путешествие в страну ретровейва // a little trip to the land of retrowave

galactic dream

Mastered by A7 Recording Studio
Thank you Glenn for rocking the lead vocal on this one!
Asking for help in 8 different languages.

Lyrics: 
Hey there, aidez-moi, pomóż mi, my friend (French, Polish)
Hey aiutami, (Italian)
I know you’ll understand.
Hey there, aidez-moi, pomóż mi, my friend
Hey aiutami. 
I know that you’ll understand.

Help me – you know my brain is really hummin’
Help me – yeah, my pants are fallin’ down
Help me – you know the trouble’s started comin’
And I’d love to have you hangin’ around.

Hey voíthisé me (Greek)
Hilf mir, if you can (German)
Bāng wǒ, it’s no joke, (Mandarin)
Meree sahaaya-ta karo. (Hindi)
Hey voíthisé me
Hilf mir, if you can
Bāng wǒ, it’s no joke,
Meree sahaaya-ta karo.

Help me – you know my brain is really hummin’
Help me – yeah my pants are fallin’ down
Help me – you know the trouble’s started comin’
And I’d love to have you hangin’ around.

Sometimes in the early early mornin’
When my head’s not very clear,
That’s the time when my soul needs some warmin’
And I need to have you near.

Hey there, aidez-moi, pomóż mi, my friend
Hey aiutami. I know that you’ll understand.
Hey there, aidez-moi, pomóż mi, my friend
Hey aiutami. I know that you’ll understand.

Sometimes when it’s late in the evenin’
And I’m feelin’ just a little bit of fear,
That’s the time when I don’t want you leavin’
And I got to have you near.

Help me – you know my brain is really hummin’
Help me – yeah my pants are fallin’ down
Help me – you know the trouble’s started comin’
And I’d love to have you hangin’ around.

Help me – you know my brain is really hummin’
Help me – yeah my pants are fallin’ down
Help me – you know the trouble’s started comin’
And I’d love to have you hangin’ around.
You know I’d love to have you hangin’ around.

Aiutami!

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.

Suite for Woodwinds and Percussion No. 2

Tiny Dance - 25-6-2025

STole Tha Shit

ÔNTI - Shi(original Mix)(demo)

THE MUTE is a protean creature.

He has no face, no identity of his own. He is made of everything that constitutes the world that surrounds us: sensations, feelings and emotions. His face is therefore constantly evolving, depending on what he perceives around him.

He is the image of our time, of its successes, its progress but also of its shortcomings. The MUTE is condemned to wander in our world and testifies of what he feels by the music and by the multiple visual expressions of his face.

https://youtu.be/R_gij8HDYlQ
https://www.instagram.com/themute.world/
https://open.spotify.com/album/1aW5DW087FVAwC7M4FV2ah