Daniel DeCastro - Composer Bio

Musical Influences and Purpose
I am a composer influenced by video game music, film, hip-hop, pop, fusion jazz, and techno. Inspired by composers like Hamauzu, Sakimoto, Uematsu, and Kanno, I strive to create music that stands alone without visuals, emphasizing listener experience through Gestalt principles. My compositions aim to evoke "Aha!" moments using unusual harmonic progressions, leading to goosebumps (Galvanic Skin Response) and their associated health benefits. This approach aligns with my belief in the positive emotional impact of well-crafted music.

Theoretical Approach
My unique theoretical framework explicitly utilizes Gestalt principles to evoke strong emotional responses like heart-racing, tears, or goosebumps. This framework aligns with a humanist philosophy, focusing on well-being and the universal tension/release phenomena in music. By acknowledging how our brains fill in gaps and seek equilibrium, I aim to create music that universally resonates with listeners, enhancing their emotional and physical health.

Philosophical Stance
I oppose postmodernism, advocating for art that objectively enhances well-being. My approach is rooted in universal human neurobiology, aiming to generate positive emotive experiences with measurable health benefits. Art, for me, is a powerful tool for societal impact, promoting cooperation, trust, and overall well-being.

Compositional Process
I compose using Gestalt principles, starting with an idea in a MIDI sequencer and refining it through trial and error. This method helps stabilize unconventional harmonic progressions, ensuring the final piece resonates deeply with listeners. Inspired by composers like Hitoshi Sakimoto, I embrace this meticulous process to achieve the desired emotional impact.

Science in Art
My musical philosophy draws from Japanese video game composers and neuroscientist V.S. Ramachandran's "Art and the Brain." Ramachandran's work on peak shift and universal aesthetic laws informs my belief in the power of Gestalt principles. By challenging sociological biases, I aim to create music that transcends cultural barriers and is universally appreciated.

Special Education Applied to Art
As a special educator, I apply these principles in teaching music composition to students in urban schools, using MIDI sequencing software. My goal is to scaffold their understanding, guiding them from simple to sophisticated musical concepts. This approach nurtures their creativity and emotional expression.

About Me
I hold a B.A. and M.A. in Music Composition from New York University and an M.A. in Special Education from Teacher's College, Columbia University. I teach music composition, and I compose using Cakewalk Sonar and prioritize emotional impact over production quality. If my music gives you goosebumps, please let me know. I welcome collaboration and feedback anytime. For questions, email me at dgd2107@tc.columbia.edu.

Thank you and enjoy!
- Daniel DeCastro

hi there, i am a bluesman like back in the 1920's and 30's living and surviving from busking...someone whom got tired going along with a system that deliberately does certain elements of mankind down and in particular myself...back in the day it was due to skin colour and if you were brownskinned then you were done down...nowadays the new 'black' is white...it doesn't appear, to me at least, to be a bias based upon race any longer, merely upon the choices the individual makes in their life...if you believe that cannabis is a valued 'erb and economic/energy and food resource that we need to end the usual reason for wars and diminish our reliance upon the habitat destroying oil and paper industries and their affiliates, then you are done down...well i for one know that cannabis/hemp (the same plant) built our present day world and the seed of that plant is also the perfect long-term nutrition for mankind and thats why it's illegal and maligned in most folks minds...basically it suits their agenda to have this opinion amongst the many....gordon brown, the ex deputy prime-minister, was britains largest investor in hemp, why would that be i wonder..?  you figure it out...a clue would be 'jack herer's' book, 'the emperor wears no clothes' read that and you will become aware...anyway enough about why they've done us all down and a little background on me...i came to music  after an abusive childhood, using it as an escape first and foremost... arriving at playing an instrument seriously much later in life as something to learn patience...this was in late 1989, the week the berlin wall came down...i remember this because i was being shown my second chord by my good friend and neighbour, roy millard, a week after being shown my first chord and discussing whether we thought the wall would ever come down in our lifetimes, to which we both said in unison, nah..!  ...we watched in awe as a week later we were sat there and people were destroying it with hammers...since that time i had become an hobby guitarist and 8 years later a builder of high quality acoustic guitars...around 1990 i was exposed to complex ragtime inspired guitar arrangements and begun taking guitar playing far more seriously as a result...becoming proficient in finger-style...  i continued to add new and more complex right hand techniques to my repetoire and this began to add a different flavour and dimension to the tunes i already had in my repetoire and this has continued right up to the present day...the next big change in my playing came about in early 2011 when i was passed information that pertained to the 'goebels' imposed standard diapason of A4=440Hz and suggested i try tuning to 432Hz... as a result of this fella's reputation i gave it a try...i became certain of the veracity of this choice after finding out a considerable amount of info from the 'schiller institute' which backed up what i was told... after virtually re-learning my instrument for most of 2011 and part of 2012 i began soloing anew... so basically i am a bluesman akin to those back in the 1920/30's america, who called 'unfit for purpose' on the system that had subjugated them and caused their poverty, the only difference is i'm not brownskinned, i'm the new 'black'...hope you like the music you listen to whilst here, it is played with love and is me stomping away the blue feelings my life has left me with and hopefully changing the outcome of the suffering and abuse i was affected by, into aural pleasure in the ears listener hopefully, thereby turning around a disaffected life... 
	now for a little on the history of the musical style i play and a brief overview of the origin of the music follows... 
    The “Blues” as a musical form, is probably the best method of soulful expression, musically or verbally, to release the effects of traumas suffered by people enduring terrible or hopeless situations.  With the Pre-war styles being an almost perfect vehicle for those needing an outlet for the frustration, anger or rage that a troublesome and difficult life had built up inside them.  The thud, thud, thud, pounding approach to the finger-picking, allowing the musician to beat out their dis-satisfaction, thereby “stomping away the Blues”.  
    Song has been the chosen method used, throughout the ages, to pass down knowledge or stories from one generation to another or from one geographical area to another.  The “Blues” consist of a simple repetitive rhyming form that was simple to adapt or to verbally improvise with.  Originating on simple one stringed instruments reminiscent of the early banjo and transported to the Americas by traders from Guinea in West Africa, whom were able, because of their physical prowess and experience in navigating some of the worlds fiercest rivers on the African continent, to row across the ocean from West Africa to the coast of South America utilizing the ocean currents.  This hidden history is re-surfacing thanks to the diligent research into early population migrations into the Americas, made possible through archaeology, artefact discovery and DNA. 
    The commonly held belief is that this cross cultural musical pollination occurred solely as a result of the slave trade. Whilst this may be true in part, there were most definitely coloured peoples in the Americas long before Columbus or “slave ships”.  Writings and Artwork prior to the slave era exist depicting both the African facial characteristics and these trader Kings of old, believed to be the origin of the peoples known as the Olmec the precursor to the Mayan culture.  Giant stone heads found in the Americas depict African facial characteristics without a shadow of doubt, these stone carvings even pre-date our present day calendar let alone the “slave ships”.  These elaborately adorned ocean bound traders were known for their gold tipped spears, probably the origin of the name given to the old unit of British currency, the Guinea, as this was the name the traders themselves gave to their gold tipped spears.  It seems that the African forebears of the coloured race were much like their Afro-American cousins of today with their “bling” ;) .  The currency/gold connection is also likely to be one of the reasons why that part of Africa is still known as New Guinea today.  The “Blues”, or more correctly “the Blews”, as a generalized term for describing sadness or low spirits originates from the old Maritime term “the doldrums,” this was the name given to areas of the oceans and the times when there were no prevailing winds to carry the ships so ships would just sit motionless almost, sometimes for days on end, leaving those on board feeling helpless and hopeless, hence the old English Maritime phrase “in the doldrums,” or as it was more commonly known in those days by the Sea Captains of the British Fleet, as “the Blews”.  
    This hidden history aside, the widely recognized present day musical form of “the Blues” is radically different even from the early pre-war Blues, let alone the very earliest blues which sprang from the very primitive single stringed instruments and playing styles which have been traced back to Africa by the study of banjo playing and building techniques.  It's a very detailed and drawn out study and one we haven't the space or time to delve into now, so we'll concentrate on the more advanced blues styles of play from the late 1800's through the turn of the century until the Great Depression of the 1930's, as it's melodies and styling can be shown to have inspired and contributed considerably to most of today's musical offshoots from the Beatles to The Rolling Stones and from Rock to Pop music, or from Jazz to Rap.  All now owe they're present popular status to the roots from which they sprang, “the Blues”.  There are several geographical based differences to the ”Blues” that developed as distinctive styles in their own right.  Chief amongst these and the starkest and most haunting of all are the “Delta Blues” which emerged from the Mississippi delta, though there are some similarities with aggressive “Texas Blues”.  I believe that these stark, aggressive sounds are a reflection of the deeper hardships and suffering experienced by the coloured race in these areas, a result of the extremely hard work and the absolute poverty conditions that were experienced as the daily norm in these industrial and farming areas.  Poor water quality led to blindness being more common in the delta areas and this was why there were so many blind Blues artists, unable to work, they spent most of their time playing guitar on the streets, hence the level of technical skill achieved by some of them.  Rural musicians of the day would try and emulate the syncopations and feel, created in the recorded marching band music or early Jazz that was popular at that time.  “Ragtime” or “early Jazz” was created in part bizarrely, out of fear and racism.  Ragtime was so feared in it's heyday that the press carried insane comments such as - “the only cure for this modern menace to society is a bullet to the head”.   Remember this ridiculous level of hostility is about nothing more than musical syncopation!  Patterns within the melodies that simply caused people to get up and dance!  It sounds eerily reminiscent of the modern day hysteria and outcry over Acid House music in the late 1980's which was supposed to have ruined Society.  Nowadays nearly every single track you hear on the radio has a House/Dance music backing.  It just goes to show the retarded and over-reactionary thinking of the established order in their belief that we need protecting from ourselves or indeed shielding from fun and frivolity.
     Ragtime was sweeping america by the end of the 1890's, making so called “decent folk” actually tap their feet in public!!  The greatest concern was “white folk” being swept into “delirium and frenzy” by the marching bands of the day because of their catchy syncopated rythms.  This was deemed so unacceptable because cultural norms were so very strict back then.   It would have brought disgrace upon any “decent” white woman and her family for her to simply be seen in public tapping her feet!!  Let alone dancing along with coloured folk or to coloured folks music!!  How ridiculous you are probably thinking and rightly so, sadly this was how the situation was viewed by the ruling classes and just as sadly it is little different today, merely tolerated as opposed to being considered inappropriate though now.  You have common sense to thank for that.  
     “Ragtime” or early Jazz was first recorded in 1926, the name of the actual recording escapes me now, but it was recorded by a recording engineer with racist views, who warned the black musicians they would “only be getting one chance at recording and when the wax was cut, it was over”.   The musicians, knowing this might be their only chance to make a record, had a discussion and decided to play their piece of music at twice the normal speed, the decision to play it this fast was due to their awareness that in rural areas of America (most were without an electricity supply), most folks had wind-up gramophones (early record players with 78rpm and 33rpm) so they could slow down their “fast” piece of recorded music to almost the right speed.  Quite a clever idea really.  When this fast recording was released, it swept the nation selling 3 million copies in one week and “Ragtime” or “early Jazz” was born.  
     Jazz is not really a musical style as it is often thought to be, it is simply a method of approaching the playing OF the music.  Recognized by scholars as “musical freedom,” it relates to the bending of, or non-adhesion to, the strict musical rules that had been set in stone for years.  Very fitting really that this form of “musical freedom” which has brought so much joy to the world through all of it's offshoots, has it's origin in such a dark mentality as racism. Therefore the “musical freedoms” we all share and which we mostly take for granted now, is owed to the quick thinking of a group of racially abused, hard-up coloured musicians.  Shameful, but nice to know, is how best to describe it.  We people are truly all the same, there are no differences between blacks and whites except that is, for skin colour.  We all cry when we are sad and we all bleed when we are cut.  It should give us all real cause for hope, that just maybe, all of the worlds woe's may just remedy themselves in the very same silver lining/dark cloud manner, now that would be “nice” and worth waiting for.
     The means by which the Blues influenced musical history is certainly a strange one and no mistake. The early Blues players who'd made the switch from “hard labour” as tenant farmers with little or no reward, to working for a few coin in their “life on the road”, playing instruments in marching bands or with medicine shows as early busker's, were eventually forced to migrate to the Cities or cultural centres through economic hardship.  The imposition of Jim Crowe laws made it illegal for coloured people to vote or own property and virtually overnight this added an unusual level of musical proficiency to the mix of itinerant self taught Bluesmen and Blueswomen.  This occurred because a great many “Creoles of colour” were directly affected by this harsh racist legislation and they were a part of the aristocracy,  claiming descent from French royalty.  Having had wealth and a full education in the Arts, some even having coloured slaves and/or servants themselves prior to the Jim Crowe laws being enacted.  A great many of these very well educated coloured people were made homeless overnight.  These educated types were now in the same sorry situation as the rest of coloured America.  These “Creoles of colour” with their opulent lives now over, relied upon their Classical training and technical proficiency on multiple instruments and they advanced the quality of street music almost overnight, blending vastly different musical styles into the melting pot of the streets.  Before this great leveller, the only serious technical advancements that took place happened mainly as a result of the coloured servants taking Note of any snippets of musicality seen or heard whilst going about their chores, allowing them to gradually become more technically proficient through practising the remembered melodies later on home made stringed instruments or old brass instruments left over from the civil war, (some Blues recordings have a direct relation to this parlour music, solely because of this cultural overlapping).  These technique advancements were facilitated so rapidly, purely as a result of these racist Jim Crowe laws, yet again another silver lining scenario from the dark cloud of racism.  Street musicians then took their new found technical proficiency back to their local rural areas, enabling the “Blues” to develop further and to then begin influencing the recorded music of the day all over again, exactly as it had done before.  This continual back and forth development and influence, from Blues to Jazz and back again, is the main reason for the depth, complexity and variation of the styles inherent within the Blues genre.  
       The “ragging” comes from the capture and full command of the melody and the tampering with the timing or musical feel of the melodic line using syncopation and swing rhythms.  It has its origin in the Jass Houses of Storyville (houses of ill repute in an area of St.Louis), so named because of the Jasmine perfume the prostitutes used to wear.  These places had live music (the house piano player had spy holes and played along to what the prostitutes were getting up to with their clients), this quickly made the piano players highly proficient and they'd gather after work in the local gin joints to “Cut Heads” or “play off” against each other.  Stomp Time piano as a style was considered by the upper classes to be tarnished, not only by this sexual connection to the underbelly of Society but also because of the “insolent behaviour” was believed shown by the coloured folk playing it or those smoking cannabis and gathering where it was played.   Remember, these were very prudish times and sex was not even talked about in public, so it being on public show was bound to offend the more prim and proper elements of Society who just so happened to be the ruling class.     
      “Insolent Noise” or “Jazz” got some pretty bad press and the hysteria it created caused an immense fear of black people by running stories which created those very same racial divisions within Society.  “Insolent noise” and all connected to it, namely the usage of cannabis, the insolent behaviour and the prostitution etc. were first to be blamed when white women fell pregnant after affairs with the free and easy going, liberated, coloured musicians who were obviously being found attractive by white women leading to many false claims of rape etc. to excuse their infidelity.  Further sensationalist reporting of these situations by the press fuelled this and other ignorant fears of the coloured race, the remnants of which are still with us today.         “Insolent behaviour” amounted, at the time, to the following -  Standing on a white man's shadow!! Looking directly at a white man whilst being spoken to!  Looking a white woman in the eye!  Speaking to a white man without first being spoken to!  These “insolent behaviours” may be known as “normal life interaction” now, but if you were brown-skinned back then it would likely buy you a hanging.  
	Hence “the Blues” being a daily occurrence...
long live the life altering original blues...  ;)

An opera-trained singer-songwriter and composer of “folk soul,” Stephanie Rivers is an extraordinary talent. Born and raised in Oklahoma, she began singing pop covers in variety shows and quickly vaulted to the national stage on Star Search and Puttin’ on the Hits. From there, she carved out a music career that transcends boundaries.

With a vocal style that sways from Jill Scott to Cassandra Wilson, Rivers defies easy categorization. She composes songs that blend the best of Folk, Soul, Jazz, Pop, and House. Her sophisticated arrangements and rich vocals are on full display in her first full-length LP, Time Tells a Lie (May 2015). Produced by Carey Alex Clayton (of the rock-jazz band Carbon Mirage) and released on Rivers’ SRPR label, Time Tells a Lie weaves a narrative of faded love and renewed passion. Its boozy bass lines and drum pockets, as heard in “As Long As You’re Here With Me” and “Dresses,” pay homage to old school Soul with a drop of Delta blues.

Rivers’ repertoire is molded by years of travel and exploration. A native of Tulsa, she displayed an early talent for music and performing. By age 10, she was being classically trained in piano and voice, and eventually honed a powerful mezzo-soprano that could take on Natalie Cole and Mariah Carey covers.

But it wasn’t until she moved to London in 2002 that Rivers found her true voice. As a foreign exchange student with little money and a scrappy Spanish guitar, she churned out “Helpless” and a batch of other original songs that comprised her first demo. 

 

London producers took notice, including Simon Paul (of the DJ team Lost Witness) and Pete “Mixmaster” Hammond (Kylie Minogue), who recruited Rivers to sing on House tracks. One resulting hit, “Club Together,” swept Europe and launched her stint as a studio session singer in the UK.

In 2005, Rivers embarked the nascent music scene in Atlanta, Georgia. Working with Bread & Water, the production duo behind Tupac’s All Eyez on Me, she recorded her own R&B tracks “Come Onto Me” and “Natural High,” reinforcing her reputation as a nimble songsmith. 

Since settling in Harlem in 2006, Rivers has expanded her sound and fan base. In 2008, she launched a five-track EP called Play Things. Produced with the iconic Ron Rogers, Play Things radiates with eclectic jazz arrangements and emphatic vocals. Songs like “The Whole” and “Fairytales,” with their heart-wrenching lyrics, lay bare the raw emotion beneath them.

Having grabbed the attention of the music and entertainment world, Rivers continues to play sold-out gigs across New York City with various indie acts. Following the release of Time Tells a Lie, she will once again hit the road and woo hearts. As a New York Post reporter once observed, “After you hear her voice, lyrics, and fantastic rhythms, you'll see why Stephanie continues to amaze.”

D o n a t e M e O n P a y p a l . . .
http://paypal.me/twifearsmusic

Getting over with some things about my life . . .

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Visit My Other Accounts:

Official Primary Account:
Surprise, you are here!

Official Remixes & Bootleg's Account:
@twifearsremixes

Official Singer/Songwriter & Composer Account (dead acc af):
@vocalsbytwifears

trash (better don't listen to that, there's so many shit there):
@twifearsexperimentalshit

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For Contacts/Misc:

MGMT || Promotions, Business & Bookings:
maiafitzgerald009@gmail.com

Ghost Producer || Mixing & Mastering:
alexdcsparkle@gmail.com

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Alex Danilo Cifuentes Madrid, or better known in the Music Scene as: "Twifears" is a DJ/Producer of Electronic Music, from the beginning of January 2014. His style is characterized as something generic or simple to do, but that doesn’t take away the pride Alex carries in making this kind of music and bringing it to people he really wants to give a smile of emotion to his face.

He really started his Producer’s Career in early 2014, where he started as everyone passed the novices, receiving Feedback either good or bad, his mind was always clean and open for all those kinds of comments whether positive or negative for his person. He likes to experience the new styles of today, only he doesn’t dare by limiting his emotions and shame, but that won’t remove what he really loves to do.

And even though Alex is not the best in his emotional state, and is a helpless or weak person, he will always be reborn strong the next day and eager to fight in the World of Electronic Music, being now a DJ and Musical Producer.

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— User of Ableton Live Colombia.
— Experimental Roleplayer, 18+ yrs.
— Average Writer.
— Professional Yapper.

Agent K is a DJ/producer based in Goa. Once a cut-and-paste pro (writer/editor), he naturally gravitated towards the Goa psytrance scene in the early years of the 21st century and played for 12 years before realizing he had found his niche in cut-and-paste music making—splicing electronic rhythms and frequencies to create weirdness of sorts. 

Agent K has no affiliation with MI6, the Mossad or Hollywood, but does interact often with aliens of some sort and is a reputed introvert. Much like the eponymous character in 'Men In Black', he now scours this planet for strange lifeforms, obliterating human memory on occasion with alien noises created by computers beeping and belching as if there were no tomorrow. His music usually features an amalgam of rumbling washing machine type sounds—some bright, others melancholic—strung together with results that may be deemed danceable and, if transmitted to aliens, may induce helpless giggling and sniggering on their part, possibly with some simultaneous tapping of appendages.

Agent K is a master manipulator (ask his exes), and one of his overriding interests is to make you bop till you drop, full stop. Unlike several of his musical contemporaries, music was not in his blood since his childhood - the alcohol and drugs crowded out everything else. But he somehow made elbow room for it (the music), and now wonders how he ever lived without its scintillating company. 

His debut psytrance EP, released last year (2014), is called "Kneel Before Zod", a direct dig at General Zod of 'Superman' infamy. Agent K is now working on a full-length album, which he hopes might one day garner him some good reviews, or at least a couple of free beers.

Carina Round has carved a singular path in music with her inimitable voice and stirringly varied compositions. Her uncompromising vision and thrilling versatility has garnered an immensely passionate fan base including a myriad of highly regarded musicians. Her forthcoming album ‘Tigermending’ comes from a painting by Amy Cutler where three women sit in a field dutifully stitching the bellies of a heap of helpless Tigers. Carina recounts, “The first time I saw the painting I stared at it for a long time not understanding why. The absurd image absorbed me. There was an innocent simplicity to it. The gentle putting back together of something most ferocious and wild mysteriously damaged to the point of submission. I felt an affinity to it.”  

The new album is being released May 1st 2012 through her label Dehisce* and distributed through The Orchard. Produced with Grammy nominated writer Dan Burns, Carina collaborated with some notable champions including the legendary Dave Stewart, Brian Eno, and Smashing Pumpkins’ front man Billy Corgan.  She released ‘The Last Time’ single featuring Sierra Swan along with a Puscifer remix of ‘Girl and the Ghost' on Limited Edition 7” Vinyl at the end of last year.  

"Making my home in the creative circus of Los Angeles has allowed me the profound opportunity to develop a loving and supportive community of brilliant musicians, artists, photographers, videographers and other collaborators. I’ve been fortunate to work with and learn from some of my favorite artists old and new, which has opened me up to new roads of expression. Also I’ve had time and freedom to experiment and explore, especially without the pressure or constraints of a label. Every song in its own way is speaking of really different things. There’s guitar ragers, acoustic beauties, electronic epics, a little prog moment and all the good stuff in between but there’s a strong backbone running through the whole record." 

Haling from England, Carina had an innate determination and passion for music from an early age, which led her to record and self-release her first two albums, ‘First Blood Mystery’ and ‘The Disconnection’. The former shaped by erratic yet engaging sounds drawing from her love of legends Patti Smith, Tom Waits and Jeff Buckley. The latter took those influences into much more powerful and personal realms.

These two albums led to her being signed by Interscope Records, who re-released ‘The Disconnection’ album in 2004.  This brought Carina US bound to Los Angeles where she recorded her bewitching and seductive album ‘Slow Motion Addict’ with acclaimed producer Glen Ballard.  Accompanying this release in 2007 was a unique 12-part episodic series that cleverly coincided with each track, creating a visual story for the album.  In this film Carina starred as the troubled lead character, Maisie Scarlett. 

A couple years later, after parting ways with Interscope, Carina toured with Annie Lennox and self-released her ethereal and nakedly confessional EP ‘Things You Should Know’, which resulted in considerable success.  Her new songs were featured in numerous film & TV shows and multiple radio stations, including KCRW, championed her music.  Carina became a touring member of Puscifer, Tool’s Maynard James Keenan’s band, worked on their latest album ‘Conditions of My Parole’, and began opening the live shows. 

Opportunities began to arise to work with other artists Carina admires, including singing on The Twilight Singers album ‘Dynamite Steps’, working with the award winning composers John Debney and Glen Ballard on a song composed for the film ‘Valentine’s Day’, writing with Academy Award winner Marco Beltrami, as well as finishing up an album with her Alt-Country side project Early Winters, which was self-released earlier in the year.  The Early Winters’ track ‘Count Me In’ will be featured in the upcoming Warner Brothers film ‘The Lucky Ones’ in April and Carina’s song ‘For Everything A Reason’ will be in the upcoming film ‘Dark Hearts’ later in the year.  TV and film placements include American Horror Story, Pretty Little Liars, Dollhouse, as well as many more.  

*Dehisce : to burst open spontaneously releasing seeds / content  : is a previously closed wound reopening.

www.CarinaRound.com
www.facebook.com/CarinaRound
www.myspace.com/CarinaRound
www.youtube.com/CarinaRound

www.puscifer.com/
www.earlywintersmusic.com


Christian Vasseur had been learning the guitar on his own for some time when he met his first teacher Pascal Boëls. 
Then, he took classes at the Conservatoire de Lille with Jean-Philippe Grüneissen and discovered the Renaissance Lute with Eugène Ferré at the Conservatoire de Toulouse for four years and took classes with renown Lute players such as Paul O'Dette and Yasunori Imamura. Practicing the Lute made him curious of improvisation and oriental music. At this time he began to perform on stage with various bands or solo, playing Early music with the Lute as well as contemporary music with the guitar. 
After several years of Early music repertory, He chose to dedicate himself to stage performance and music writing. At this stage, he started introducing some acting in his performances, mixing acoustic and electronic sounds, improvised and written pieces. 
For 15 years, he has been teaching musical theater and free improvisation classes to various groups of people : 
children and adults teen-agers in custody at the Maison d'Arrêt de Loos ; 
disabled adults and children (Compagnie de l'Oiseau Mouche at Roubaix, Ecole de Pratique Théâtrale at Villeneuve d'Ascq, psychatric hospital of Saint-André ). Meeting with highly vulnerable or helpless people has had a deep influence on the way he works today. 
Christian Vasseur has composed many pieces of music for various instruments and bands. Truly motivated by the possibilities offered by music applied to other disciplines, he works with video artists, dance and theatrical companies.

The Christian Vasseur' music borrows as much from classical tradition as from popular music. It is free of any form of dogma. As a polymorphic musician he every often takes part into interdisciplinary events where music combines itself with other artistic media, such as photography, video, dance and theatre. In theatrical events, his music acts as a counterpoint to the text, creating an extra voice, sometimes melodic, sometimes dissonant or noisy, based on the requirements of the staging, where acoustic and electronic sounds usually intermingle. Christian Vasseur plays lute too and composes new original music for this instrument. On top of solo concerts,he usually plays in a duet with cello player Jean-Christophe Lannoy (N’Gaddi), with guitar player Philippe Lenglet (Soliloques en loque, free improvisation), with belgian guitar player Gilbert Isbin (Bubble Fauna, free improvisation), with electronic music composer Denis Streibig (Les Chromonautes) with Djuwel (trio with singer and lute player Habib Guerroumi and Jean-Christophe Lannoy, two albums on Playa Sound label). He founded the band Mr Agata which plays tinny electro hardbarock opera music (La vie d'un homme on Dog Eared records). With the comedian musician Patrick Sourdeval he founded the duet Chamane/Shamane. He joined the electric guitars quartet OGR in 2010 and create the duet Fire Walk With Us with the eight string guitar player Steve Gibbs in 2018. Two CDs (Alam and Poèmes saturniens) was edited in may 2009 by Humming Conch.
More albums here : https://christianvasseur.bandcamp.com/
A trilogy is published by Thirsty Leaves :
https://thirstyleavesmusic.bandcamp.com/album/cent-millions-dann-es-a-la-limite-du-pr-sent-vol-1-3
https://thirstyleavesmusic.bandcamp.com/album/barreaux-dans-le-ciel-a-la-limite-du-pr-sent-vol-2-3
https://thirstyleavesmusic.bandcamp.com/album/un-amour-infini-a-la-limite-du-pr-sent-vol-3-3

It’s rare to uncover an artist with a world class voice and an unmistakably authentic sound to match. Australian singer Luna Vexa is exactly that, and more. What results is an alluring combination of soaring, powerful vocals & unapologetic lyrics, layered over a hard hitting contemporary alt-pop soundscape.

Appamada,

dat is bij avondlicht in een berkenbos staan.
Lichte geuren en aardse kleuren opsnuiven.
Het palet van de wolken ontcijferen.

POPPUNT OVER 'CRUMBLING HIVE'

“Jazzy popsicles with floating hints of lime.” That’s how the four-headed band Appamada describes itself. An accurate description, if you ask us, as their music seems perfect for the warm summer days that are coming our way. Just listen to ‘Crumbling Hive’ on which Appamada makes a lovely blend of folk and indie pop, reminding a bit of Kings Of Convenience, Feist or the softer stuff by Sharon Van Etten.

Fulton Barbra is following