How long have I been gone?
Weeks, months, years?
Ship on fire
Burning in the night
Illuminates the sky
In the absence of light
Slowly sailing to a place
In my mind
Leaving everything far behind
Leaving it all behind
I understand life backwards
But I have to live it forwards
I understand life backwards
But I have to live it forwards
Time is not a river
Flowing only downstream
Time is not a hallway
Going one way or the other
Time is not an ocean
Moving in all directions
Time is a jungle
Filled with scary monsters
My ship is on fire
Drifting to a place
In my mind
My ship is on fire 
Leaving it all behind
We understand life backwards
But we have to live it forwards
We understand life backwards
But we have to live it forwards

Ship On Fire

Composition / Guitar / Vocals: @wildsilencez
Weissenborn / Backup Vocal: Yours truly.

Greener Pastures

Blue September

Blue September (Dec. 2024)

TimelessDriven

“An interlude piece inspired by ‘Discovery’ era Daft Punk and a Pete Johns Studio Live Today podcast about keyboards. Created solely on Garageband iOS for iPhone, this song features Our Daughter and my Wife and was good fun; there is a lot of love and joy in this track. I hope you enjoy it.” 

hello space punk, is it me you are looking for? 

© heart house and the new kindness. 2025

Written**, performed*, recorded, produced** and mixed by heart house and the new kindness. 
*with OUR DAUGHTER + QUEEN VAN WIFE AND MAMMA 
**additional writing and production by QUEEN VAN WIFE AND MAMMA 
Mastered by DOLBY

hello space punk, is it me you are looking for? w/ OUR DAUGHTER + QUEEN VAN WIFE AND MAMMA

The primary riff to this track came out of the blue... I thought, but after hearing it again, I found that it sounds like Neil Young's : Hey Hey, My My.
Sorry Niel, but it just came to be this way :)

Æ Ravn

Work for Woodwinds and Percussion

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. 1

Suite For Woodwinds and Percussion No. 1

kitchen neon light

From the "Pre-Unit Twins" project

A Song about Love Lost

The Pre-Unit Twins

When Love Is No More

When Love is No More

I wrote this a couple of days ago and worked on the lyrics a bit then recorded just now on my phone. The starting point was thinking of a Syd Barrett lyric which mirrored Elvis "I don't care if the sun don't shine".

Photo - Usher Gallery, Lincoln, April 2025


Yes I mind when the sun won't shine
And I must live in shadow
When the dry spell comes must carry on 
Until there's no tomorrow
Getting up I know I'll fall again
And when I'm not wanted at all 
By the grace of God I don't despair
But for goodness sake of course I care

You bet it's true and I get the blues
Whilst you suffer for nothing 
As I play kick back watch melting wax 
Then I'm late again rushing 
Falling down I know I'll rise again 
And while I'm hated I stand tall 
Had to accept life isn't fair 
But for goodness sake of course I care
For goodness sake of course I care 








 





Of Course I Care


People who hate low traffic neighbourhoods
Drive massive 4x4s because they think that they should
They do all their shopping in retail parks
Dump their Mcdonalds without regard 

They can't walk further than 20 yards
As they waddle back to their massive cars
And they tarmac their front gardens to park                     
Their fleet of motors in a pathetic arc 

Then they claim they want England
To look like it did
Before they wrecked it! 
With my sarcasm on hold
That is pretty bold of them 

They yearn for bobbies on bicycles in pretty towns
Clean streets and friendly communities without a frown
And don't we all want that?
But the rich pay no tax

454. they claim they want england to look like it did (harding).mp3

To The Core

Working on some other material

I'm a 36 year old, man, playing guitar, living in MA. Making metal riffs!

Got all my tracks from Demo 1 as playthroughs on Instagram (got 1st track from Demo 2 as well)

I don't know how to use music recording software (I just make my riffs at home and go to the studio to get them recorded) but if you want to collaborate just let me know and we can try to work something out

TimelessDriven

[Metal] (Meditations)

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