Sax - https://soundcloud.com/henry-koek
Voice - https://soundcloud.com/myrhyum
Drums/bass/guitar/mix/composition-Unearth Noise

Nosuch thing (w/Henry Koek & Myrh)

“Our backs are to the void...”- John Lilly
Multi-instrument player since 1978, Bands include: Broadcast, Slabs, String of Coincidence, Zamma, and Splatter.  Now Ivy, since 2013. Thanks for all the support - 43,000 plays and counting.

art which overwhelms the senses, makes no sense, is incongruous with the 'normal' thinking process, which transforms and transmutates the listener into something they were not during before, and creates a permanent evolutionary change.

 
"Music projects a living image into your existence, it is an expression of something beyond our own comprehension, seemingly existing as part of the moment only as color and feeling – something that Unearth Noise has been able to achieve with every single track that I've listened to. The name itself can allow you to vaguely imagine what you are about to fall under the spell of. " -Rolby Perez of Neitherzine (http://neitherzine.com/)

Neitherzine interview (pg.42): http://issuu.com/neitherzine/docs/issue_seven?e=4786980/4515658

Facebook. page:: http://www.facebook.com/pages/Unearth-Noise/448815395188765

Downloads available on Bandcamp page http://unearthnoise.bandcamp.com/

Also check out my cyber band Ancient Aliens @ http://soundcloud.com/ancient-aliens-1

and: http://soundcloud.com/shadowface-2 (bitzone/Catcherye/Unearth Noise collaboration)

Edgy Indie Electronic Pop Music you will love. 
Sign up for my Newsletter here: 
http://eepurl.com/cS2gVD

And check out these amazing artists:
https://soundcloud.com/clubfungus
https://soundcloud.com/couch-king-presents
https://soundcloud.com/pacman-mic-mastery
https://soundcloud.com/shadowpainter
https://soundcloud.com/superwav-rocks
https://soundcloud.com/mrinal-desai
https://soundcloud.com/mrsrhymes
https://soundcloud.com/david-louthan
https://soundcloud.com/samprock

"GOD SPEED" out NOW
https://jaywalkerblack.bandcamp.com/album/god-speed

Since 2016 ; Two Friends; Straight Riddims ; Live recorded with a ZoomH1; Overdubed with a JamManXT and Live Instruments  ina di Proberaum  ; Everything Handmade !! Always improvised !! ; Just for fun, just jammin' ; Non-professional, non-commercial !! 

Hope you enjoy !!


Dub Therapeutics:
E̱i̱n·sied·ler       https://soundcloud.com/ein-sied-ler
Jackjoeharry   https://soundcloud.com/user-217005575
Myrhyum                          https://soundcloud.com/myrhyum


                                   Dub Therapie Cover Art by my son !! (4 Years)

Salute

EDM Producer/Singer/Songwriter. 
This is just one of my many accounts. 
I sing for Roving Sex Gang. Thanks for listening!
All songs are free downloads ;)

The Fish Herders began their musical journey together in 1989 and are influenced by a variety of styles of music. 

Hi my name is Oscar and I love to hear music, playing football and hang out with my friends

Official Page of Saint Mathews 
Booking/Features/ etc.
Email: Iamsaintmathews@gmail.com
Instagram: @Saint.has.arrived

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

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.

New Album "GOD SPEED" out NOW
https://jaywalkerblack.bandcamp.com/album/god-speed