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Reminiscence – The Gentle Return
Sometimes the heaviest moments are the quiet ones.
When a single piano speaks louder than any voice,
not with words, but with the aching stillness left behind.

Reminiscence is the sound of looking back,
of revisiting the empty chair, the quiet room,
the laughter that once filled it – now just an echo.
It’s not a cry for comfort, but a slow exhale of memory.

This piece doesn’t try to escape the sorrow.
It walks beside it – unafraid, tender, honest.
Because some things cannot be forgotten.
They live on in sound, in silence, in the spaces between the notes.

Performed entirely on the Bechstein  –
a grand piano from EastWest, known for its haunting intimacy.
Its velvety resonance and delicate detail bring life to the sadness,
like a whispered goodbye that lingers in the air.
Every nuance was shaped by human hands – with reverence, with grief.

Part of the album Tides of Melancholy.
No AI. No shortcuts. Just soul, sorrow, and sincerity.

Composed, played, and felt by myself –
for all those who carry someone in their heart but can no longer hold them.
Thank you for listening – and for making space for this gentle return.


Reminiscence – Die leise Rückkehr
Manchmal sind es die stillsten Augenblicke, die am schwersten wiegen.
Wenn ein einziges Piano lauter spricht als jede Stimme –
nicht mit Worten, sondern mit dem Schmerz,
den nur die Abwesenheit kennt.

Reminiscence ist ein Blick zurück.
Zu dem leeren Stuhl. Dem stillen Raum.
Dem Lachen, das einmal darin lebte –
nun nur noch Erinnerung, verhallt im Nichts.
Dieses Stück sucht keinen Trost.
Es atmet die Trauer – langsam, behutsam, aufrichtig.

Denn manche Verluste verblassen nicht.
Sie bleiben – in einem Klang, in der Stille,
in dem, was zwischen den Tönen unausgesprochen bleibt.

Eingespielt auf dem Bechstein Sus Rep Lite DYN –
ein Konzertflügel aus der EastWest-Piano-Serie,
geschätzt für seine emotionale Tiefe und intime Klangcharakteristik.
Sein samtiger Ton und seine fragile Präsenz
verleihen dem Schmerz eine Stimme,
wie ein leiser Abschied, der in der Luft stehen bleibt.
Jede Note wurde mit Sorgfalt und Gefühl geformt – von echten Händen.

Teil des Albums Tides of Melancholy.
Keine KI. Kein Trick. Nur Seele. Nur Trauer. Nur Wahrheit.

Komponiert, gespielt und empfunden von mir –
für all jene, die jemanden im Herzen tragen, den sie nicht mehr in den Armen halten können.
Danke fürs Zuhören – und dafür, dieser leisen Rückkehr einen Platz zu geben.

℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, modification or distribution of this track is strictly prohibited and will be prosecuted under applicable law.
℗ 2025 DestKorn | © 2025 DestKorn. Alle Rechte vorbehalten.
Jegliche unautorisierte Nutzung, Vervielfältigung, Bearbeitung oder Verbreitung dieses Tracks ist untersagt und wird rechtlich verfolgt.
Artist & Publisher: Matthias K. / DestKorn
SenneRecord – established 2012

Reminiscence

Collaboration
Check out AnandaTuk's music at: @user-11396379

For Some Strange Reason -With AnandaTuk


Texte Français et Google traduction

JOINDRE LES DEUX BOUTS

Fins de mois difficiles,
Les factures à régler.
Et les enfants fragiles
Qu’il faudra bien soigner.
Et ce loyer qui tombe
Trop lourd à chaque fois
Que faire dans un monde
Si on n'a pas un toit.

Puis il faut bien manger
Pas en faire des extras
Un plat ou une entrée
Sans sauter de repas.
C'est si facile à dire
Quand on y regarde bien
C'est sûr, il y a un pire
Beaucoup de nous ont faim.

A joindre les deux bouts
Quand on n'arrive pas,
Un sou est bien un sou,
Surtout quand on l’a pas.

On cherche et on ratisse
Dans ses tiroirs du fond
Ce jour qui rase gratis
Quand on n'a pas un rond.
On gratte toutes ses poches
Jusqu'à les déchirer
Tendre sa main c'est moche
Pour au mieux vivre.

En se privé de tout
Ce qu'on dit superflu
Il ne reste plus beaucoup
De moments détendus.
On se traîne, on vivote
Sans regarder au loin
L'intérieur se révolte
Espérant mieux demain.

A joindre les deux bouts...

Mais pourquoi travailler
On ne comprend pas bien
Que faire pour exister
Si ce n'est pour les siens.

A joindre les deux bouts
Quand on n'arrive pas,
Un sou est bien un sou,
Surtout quand on l’a pas.


MAKING ENDS MEET

Tough ends of the month,
Bills to pay.
And fragile children
Who will need to be cared for.
And that rent that comes in
Too heavy every time
What can you do in a world
If you don't have a roof over your head.

And you have to eat well
Not overdo it
A main course or a starter
Without skipping a meal.
It's so easy to say
When you look closely
It's sure, there's a worse situation
Many of us are hungry.

Making ends meet
When you can't make ends meet,
A penny is a penny,
Especially when you don't have it.

We search and we rake
In our back drawers
That day that shaves for free
When we don't have a penny.
We pick all our pockets
Until they tear
Reaching out is a shame
To live better.

By depriving ourselves of everything
What we say is superfluous
There aren't many
Relaxed moments left.
We drag ourselves along, we eke out a living
Without looking far ahead
Our inner self rebels
Hoping for better tomorrow.

To make ends meet...

But why work?
We don't really understand
What to do to exist
If not for our loved ones.

To make ends meet
When we can't make ends meet,
A penny is a penny,
Especially when we don't have it.

JOINDRE LES DEUX BOUTS

Four Quarters 92 BPM

Cast of Characters:
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 – Sigma acoustic guitar, Collings mandolin, Roland piano, vocals, vocal harmonies, and arrangement
TexMex Shaman– @texmex-shaman –Stephen– Gibson Earle Scruggs banjo, arrangement, production, mix, and mastering        
This song is a Phish song written by Trey, Page, Fishman, and Tom Marshall, who wrote the lyrics. Originally, on their album Hoist, it's just Trey playing and acoustic guitar and singing. Stephen and I wanted to give it our own flavor though. After I asked him to play banjo on it and produce it for me, we started spitballing ideas about how we could add something more to it. Originally, we both played every instrument, guitar, banjo, mandolin, and piano, through the whole thing, except the first and last verses. Then we decided to trickle the instruments in for maximum effect. I also sang the harmonies throughout. Finally, Stephen came up with the idea to wrap the last verse in a mono effect, giving it a detached feel. He mixed it brilliantly, too.
  This song has always had a special place deep in my heart. Sometimes you hear a song and recognize such truth in it, it feels like it was written about you. This is such a song for me. Plus, it was written by my favorite band, Phish, so it has even more meaning for me. We hope you enjoy listening to it as much as we enjoyed making it.

Dog Faced Boy by Phish (with Texmex Shaman)

Love electronic music from techno thru dnb and dubstep to trance
Now using @AbletonLive 

The musical ramblings of a chaotic mind.  
 
Independent UK Musician , write, produce, master all tracks.
Been writing for over 2 decades, the first 15 or so using Reason, after a few years away I am back now learning Ableton.
Many thanks for listening.
Member of:https://soundcloud.com/traumaparticle

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