(Free WAV Download available here under '••• More'; and eventually, as part of a future solo album)

Greetings all you fun and funky SC musicians. I don’t typically upload remastered versions of a song as a new track. I usually just replace the old with the new, and change the title to reflect the remaster. But this one is special, for a few reasons (and if you’re not much into personalized mixing details, you may want to skip this liner note).

First (and most importantly)… I thought I’d lost the ability to edit the original tracks for this song. The last time I opened it up in Logic (updating it for the 2018 album remaster), the siren voices were all messed up (automation in Alchemy can have odd results sometimes). I just assumed the original native file was broken forever, because I no longer had access to that version of Logic. I had to do the album remaster from my only existing mix… and it was definitely lacking.

4 years later, I’m so glad I took a chance on reopening the native file when I concluded this ‘Siren’ trilogy. All the sounds/automations were exactly as I had left them. Prior to this attempt, I just assumed the worst, and never tried again. Thankfully, I was wrong. :D

Second… the remaster turned out much better than I hoped; and the differences were so satisfying, I thought it might be fun to have both versions up (for a side by side comparison, for any interested musicians out there. Here's the older version: https://soundcloud.com/grevusanjl/siren-rising).

So why does this one sound so much better than the original version? (And please take all of this with a grain of salt. I’m no pro. But I have discovered what works for me.)

Honestly, a tremendous amount of credit goes to having a much better understanding of Compression. For many folks, Compression is almost a dirty word. Just the title of the plug-in alone confused me at first. Why would I possibly want to compress my sounds, when I liked them as is? 

But it turns out (for me at least) that the different Compression options really shine when chosen specifically, and used minimally. As an example (and I’m not sure if your DAW offers similar options, but), Studio VCA works brilliantly with strings, female vocals and many of my favorite synths. But Studio FET works great on drums. Etc. And while some might cringe at the idea, I absolutely love what Soft Distortion does to most tracks as well. Used in mild amounts, Soft Distortion adds a phenomenal amount of spacial quality to the sound. I don’t use this one all of the time, but I bet I use it at least 75% of the time now (and Compression in general on about 95% of the tracks).  So there you go… I’m definitely a big fan of Compression… when used responsibly. :)

In addition, I’ve also learned a lot about EQing since I first did this song in 2017; so much so, that I was actually baffled by some of my earlier choices. So a large amount of the repair/update time for the 2022 remaster was spent on getting the EQing for each track set up more effectively.

And finally, I had the opportunity to give the full mix a healthy rebuild. After 5 years, you’re undoubtedly going to have a very fresh perspective on a piece. And I realized a lot of the sounds simply weren’t in their optimal positions in the stereo field. I also reconsidered where sounds faded in and out, and how intensely they did so… and I updated all of that as well. 

And there you have it, the story/history behind one of my all time personal favorites. I’m so glad I had an opportunity to revisit this one (while leaving all the original instruments true to form), and I hope you enjoy all the latest sound enhancements as well. I’m excited to hear what you think of my ’Siren Rising (2022 Remaster)’. :D

WTF! The Musical

Siren Rising - 2022 REMASTER

The picture shows a detail of "Restaurant De Oude Vinck in Leiden", 1905. oil on canvas by Max Liebermann (1837-1935).


@ The Garden Cafe ?

in
All has fallen silent - all has become quiet, 
Only for a brief instant 
Time stood still, 
Or at least it tried 
And into such a moment I dive...

1
Oh, sometimes
I would like to be able to see the world through your eyes.
The stars look so completely different from here and yet 
They are everywhere the same

ref
Oh, now I know not how to feel or what to be

2
Oh, sometimes
I miss a moment that I would have loved to have lived
And then I imagine that we could meet for a while, 
Sit in a garden cafe, have some darjeeling and scones 
With clotted cream and marmelade.
 
We can be silent for a bit and a bite, 
I know I would be quite attentive and listen carefully
Now and then I would certainly take a look 
And reassure myself: 
This isn’t really happening

ref
Oh no, now I know not how to feel nor what to be
And suddenly reality is so much different for me

3
Between the trees, with a pot on the teapot, 
Then the etagere with the sandwiches, 
cucumber and cress, 
The scones are of course warm and all is homemade 
And so very beautifully arranged and dressed.

Oh, sometimes
I wish i could travel thru space and time
Dreaming myself unto your side
And just sit with you and talk for a while…

ref+out
Oh no, now I know not how to feel nor what to be 
And i know that reality is so much different for me
Oh, so much different for me (2)

@ The Garden Cafe ?

Room 298
Where you go to explore chromatic scales and shape theory....

Guitar: Fender Jazzmaster
Amp: Vox AC15
Percussion: Pearl Hi Hat with Zildjian symbols - with brushes 
Mics: a pair of Royer r10 ribbons
Mic preamps: API 312

Mixer: API 24 channel summing mixer (8200/7800)
Stereo Bus processing (API EQ and API compressor)
Final mix down to a MARA MCI JH110 1/4inch 2-track at 15 ips using ATR Master Tape.

Room 298

First single from our 6 track demo album "THE EARLY YEARS" from 2016/17 which has never been released before. An absolute rarity!
LIN GOTHONI // Vocals & Lyrics // Instagram: https://bit.ly/3htPeUo // @lin_gothoni
RALF WADEPHUL // Keyboards, Synthesizer, Mix and Production
PETER PASCH // Rhythm Design // Drums // @docfritz
SABINE MEIER // Cello
ROCK FLEXIBLE // Guitar // @rock-flexible
Composed, Arranged & Performed by:
OESJ | ORCHESTRA OF ELECTRIC SPACEJAZZ & LIN GOTHONI
© 2016 - 2022 // OESJ // LIN GOTHONI // All Rights Reserved

2016/17 THE EARLY YEARS

Invisible Arc

THE ALBUM

01. INVISIBLE ARC

Bent Out Of Shape

A song I wrote two years ago or more about my wife and her mother. Reflecting on the loss of a mother and how it affects the daughter so much and continues to hurt everyday five years later.
I gave Noobly the original demo and said imagine this.
We are on stage at the Albert Hall. You with an acoustic guitar and me on vocals with a full orchestra behind us. He said no pressure then and laughed.
It’s the only way I could express how big this sound needed to be.
Noobly loves a challenge and always delivers. I was blown away at what he had created it’s a home  studio masterclass of orchestration and production.
He also pulled out the original vocal part from the middle 8 and re-used it again as he thought it was more authentic than the new vocal.
A nice touch for me and nostalgic.
The anniversary draws near so now is a good time for the song to be released as a tribute. 
Just Not Today………….

Just Not Today ~ Conscience Of Kings

A rough mix taken from the desk @ The Brunswick a couple of weeks ago. The rain was torrential that evening but it didn't deter the  hardcore audience from turning up.  A little tip of the hat to Thelonious in this one.

Tobie Carpenter (electric guitar) Hamish Livingstone (double bass) Will Barber(drums) Chris Carpenter(subtitles/trombone) (burn.it.smith (vocals/keys)

Ah ben dis donc (Blimey)
 Ça... tu entends? (Can ya hear that?) 
Le mec sur la pétrolette (The bloke on a moped)
 Il monte la colline (Going up the hill) 
Pour voir sa copine (To see his girlfriend)
 Mais ça me donne mal à la tête (Does my head in)
En première vitesse (Always in first gear)
 Roulez jeunesse (Move it youngster) 
Remets le pot d’échappement (Put that exhaust pipe back on) Fous-moi la paix (Leave me in peace) 
Tu me casses les oreilles (Ya breaking my ears)
 J’en ai marre d’entendre ta ronflette (Tired of hearing that dam hum)

Errrrrrrrmmmm
 I think he’s on his way
 Errrrrrmmmmm 
Must love that girl, anyway 
Squiddly deet dat doot doo dat 
Well you know that where I’m at
 Squiddly deet dat doot doo dat doot day

 Ça, tu entends? (Do you hear that) 
Poile au bidon (For Christsakes) 
C’est le mec sur la pétrolette (A bloke on a moped)

Solo

En première vitesse (Always in first gear)
 Roulez jeunesse (Move it youngster)

Le Mec Sur La Pétrolette (Live)

Music & Words : Bruno Chassaigne (many years before becoming Loony De Bussy)   Art work : Nataly NGM

Bruno did drums program, bass , guitar and vocal 

Recorded on 4-tracks tape recorder 
Mastered by Loony on Audacity 

Play it loud!

Story :
Here is a bit of what happens when you loose someone you cherish above all.. the one who gave you inconditional love, the one who gave you life! 
I was still a young music student at this time, but it seemed youth - and all its carelessness - would never ever be.
Nothing I was able to do except... crying, and, just after one week -  when walking along the sea apart from family , trying to find interior peace and accepting - composing this!
I wrote music as I could when back in my car (always had some music paper and a pen in it) and words came instantly.
Days after I could check it on a guitar, and only one year later record it. 
Never been able to play it with bands so that you’re almost the first listeners here … more than three decades later
Hope you will appreciate

I'M CRYING  -  Bruno C

My Folky Dreams

TimeLines (TrueString)

Just a simple pop song 😊

Free download if you like it.

Main vocal by Omar (Ghosthack)

Thank you for listening ♥

Sleeping Alone

Three Photons is an analog-centric indie jazz-blues project that blends vintage warmth with cinematic introspection. Rooted in tape-based production and minimalist arrangements, the sound evokes dusky landscapes, quiet urgency, and the emotional clarity of improvisation.

Drawing from early jazz recordings, lo-fi textures, and ambient storytelling, Three Photons crafts sonic environments where each note feels intentional and alive. The name reflects a fascination with light, resonance, and the subtle interactions that shape perception—mirroring the project’s ethos: understated, immersive, and deeply human.

From reel-to-reel saturation to spacious reverb tails, every track invites deep listening and quiet reflection. This is music for late nights, long drives, and moments that linger.

🎙️ Analog soul. Magnetic tape. Timeless tone.