During my teenage years, I composed quite diligently, creating many themes and tracks for my own enjoyment on my old Yamaha keyboard. However, that ended abruptly when I reached my twenties. I bought a new keyboard (the old one had broken down — a very sad moment), more advanced and expensive, but somehow I wasn’t able to do much with it, almost as if the magic was lost. That hiatus lasted a decade.
It was not a wasted decade, though, because I plunged deeply into listening to 18th- and 19th-century classical music, refining my taste and shaping my own musical identity.
The main theme of this Rondo somehow heralded a new era of composing. During a boring meeting with some association committee 7-8 years ago, my mind drifted far away, and the theme just appeared out of nowhere, almost completely fleshed out.
It was then that I became certain it was time to return to music.  Last month I've finally felt obliged to do a proper honour to the melody and to build a piece around it.

Rondo for Piano, G Minor

Depuis la pandémie mondiale, plusieurs pays ont décidé de restreindre les sorties des citoyens pour les protéger du virus. Bonne idée ou mauvaise idée, là n’est pas le propos de la chanson. Le titre parle plutôt de ceux qui avaient déjà, ou qui ont maintenant de la difficulté à sortir de leur maison depuis cet évènement. Cela se nomme  le SYNDROME DE LA CABANE. Dans la chanson, une amie essaie de venir en aide à la personne qui a peur de sortir mais ne sait pas si ça va fonctionner.


Since the global pandemic, several countries have decided to restrict the exit of citizens to protect them from the virus. Good idea or bad idea, that’s not the point of the song. The title talks rather about those who had already, or who are now having difficulty leaving their house since this event. It is called the CABIN SYNDROME. In the song, a friend tries to help the person who is afraid of going out but doesn’t know if it will work.


Musiciennes et musiciens :
Marie-Christine Tremblay : vocal
Denis Caouette : paroles, musique & arrangements, guitares, back vocals et programmation.
Michel Otis : synthétiseur
Frank Corneau : Basse
Sébastien Savard : Violons
Jérôme Vandal : Batterie
Martin Larose (Studio Septentrio) : Réalisation



PHONOGRAPHE

Prison de Verre

Prison de verre

Submarine

I thought I’d build a submarine to travel deep under the sea
My computer drew some custom blueprints just – for - me
It will have a viewing port below and a periscopic view above
And a captain’s chair in calfskin leather that will fit me like - a – glove

My submarine is sleek and gold a fantastic sight to behold
Passersby who saw it couldn’t help - but – gawk
I put it on my old trailer and hitched it to my new volvo
And headed out for its maiden launch from the public City dock

I’m gonna see this world like I have never seen before
I’m gonna see this world like I have never seen before

I don’t have any deep sea knowledge as I head into the blue
But I have a clever chatbot that can tell me what – to – do
My friends seem somewhat skeptical; they’re clearly jealous I can tell
that none of them has thought of such a great idea too

When I return, if you’re lucky I will tell you all the things I saw
Cuz surely I’ll have stories that will fascinate and awe
Before I go let me tell you one thing you can know
You’ll never see what’s outside if you don’t open up the door

I’m gonna see this world like I have never seen before
I’m gonna be in this world like I have never been before


Submarine

The forecast is for sunshine and rain and then, again.

Whether Patterns

Vocals, Lyrics and Instruments by Robert Grigg.

Follow The Son

The Hole You Left by Siegfried Jünger unfolds in slow waves of ambient drone and melodic electronic texture. Ethereal tones drift through empty space, building an elegiac calm that feels both intimate and distant.
Like early Aphex Twin meeting Jónsi & Alex, it balances warmth and melancholy — a quiet meditation on absence and memory.
From the album Absence, this piece sits where emotion meets atmosphere: slow, minimal, and deeply immersive.

For fans of: Aphex Twin, Jónsi & Alex, Ben Frost, Max Richter

Siegfried Jünger – The Hole You Left | Ambient Electronic Drone

Copulating Grace

Mid tempo rock song written, played, arranged & produced by John Hardman for Swamp Music Productions.
John H - vocals, guitars
(c)(p) 2024 Swamp Music UK & Swamp Records UK for all territotries



Little White Lies

Little White Lies - John Hardman

Low Tech

Atmospheric Christmas Instrumental - newly arranged traditional tune

Early Christmas Morn

Hell on High – Original Motion Picture Soundtrack scores a revisionist Western where the canyon fire is judgment, confession, and revelation all at once. Saloon pianist August Reed (our narrator) watches a thirsty town held in the fist of Luther Brand, a mine and water baron who finds “beauty in the blaze” when the gorge finally burns. Across fifteen tracks, the album shifts between soulful saloon songs, hard campfire harmonies, and wide, cinematic score: August’s gentle “Little Lights in the Valley,” Mara Linwood’s flinty work-song “What My Hands Can Hold,” Calder Pike’s posse anthem “Keepers of the Line,” and Brand’s chilling creed “Beauty in the Blaze.” Instrumental cues ride the posse through chaparral, follow August saving children through smoke, and carry Brand to his last choice at the gate, ending in a quiet reprise as the town walks the ash of Hell on High and counts what’s left worth saving.

Mara’s Ledger

Instrumental guitar-based duo, Jerred Seveyka and Bret Tobalske.

Whether Patterns

Seveyka & Tobalske