Name: The Sea Below [was Azure Blue] by SFJ
Duration: 5 min
Description: The photo was taken on the coastal path in North Cornwall [close to where a several of my ancestors had lived]. The slate dry stone walls in this area have a distinctive herring bone structure. The orange lichen might be the Common Sunburst Lichen.

You're certainly producing a rich classical sound. The lack of an instrument is not getting in the way it seems.

Sea sounds and even a whale somewhere there.

@ladyofire
More drums! 175 bpm
Found the original poetry track by @ladyofire while searching for ‘open collab’. It’s surprising what amazing things you can find on SoundCloud!

Crimes

Crimes Against Humanity - Lady Of Fire Poetry - Open Collab - DrumNBass

Voice Recorder Pro

Woodstock 3

Method: Overdubbing to create that folksy ballad feel - in an eerie way
Narration: On the popular side of my romanticism (and my skills in pastiche text composition), this is a MORITAT - a warning song played by travelling minstrels or BÄNKELSÄNGER, somewhat like a murder ballad. A young girl (Lottchen) is seduced by a passing band of strangers, flees with them and later returns pregnant. In detail: A remote family farmstead in the early 19th century. In the first verse, the travellers try to impress the children, in the second verse they try to impress the elderly. They hope to trigger longing and yearning for far away landscapes - which does not work in both cases. In the third verse, they trade vain promises among themselves. There is one thing they are experienced in, though: feasting and telling tall stories. In the fourth verse, the father warns and threatens to send for the constable. In the fifth verse, the mother warns young Lottchen that "only what's loose drifts with the wind". In the sixth verse Lottchen has vanished along with the journeypeople and her loss is mourned. In the last verse, Lottchen returns with child.
Note: I tried to make the cover as tacky as .... welll .... others .....

Lyrics / copyright jo richter
(as published in 'chi' under the title 'los'):

den kindern erzählen sie von den bergen,
von hohen gipfeln in stein.
die kinder lächeln schüchtern:
wer will denn so einsam sein?


vor den alten prahlen sie lauthals mit der
weite des meeres, der see.
die alten grummeln mürrisch:
ihre schale fasst nur noch tee.
  

sich selbst geben sie große versprechen,
doch halten diese nie ein.
dafür wissen sie zu zechen
und fröhlich beisammen zu sein.


das sind, sagt der vater, alles bloß gauckler,
sänger und reisendes pack,
gewürm aus dem schoß von dieben:
die holt der gendarm bald ab.


die mutter schaut zu, schweigt und setzt sich
neben das lottchen, ihr kind.
bleib sitzen, lottchen, bleib sitzen:
nur loses treibt mit dem wind.
 

im frühdichten nebel des morgens, ach,
ist keine spur mehr zu sehn:
ach lottchen, mein herzliebchen,
was musstest du mit ihnen gehn?


die drehleier summt, die drehorgel walzert,
das lottchen kommt wieder heim.
 lieb hergott hilf, sie trägt ein kind,
das lottchen kommt nicht allein.

lieb lottchen

Lieb Lottchen

Walk Before You Run

The photo was taken on the coastal path in North Cornwall [close to where a several of my ancestors had lived]. The slate dry stone walls in this area have a distinctive herring bone structure. The orange lichen might be the Common Sunburst Lichen.

The Sea Below [was Azure Blue]

This Is the Day It's Coming Home

Lonely People

Why Should We?

Dark ambient soundscapes for your pleasure.

DARK AMBIENT - IN STASIS

The Roman was an original screenplay adapted to theater and written and directed by Tyler Angier. The dark comedic thriller was composed by Jeffrey Dean Moran and Connor Bullock and performed in Los Angeles, California to audiences everywhere. Here are the 36 original tracks written and extended for your listening pleasure, we hope you enjoy. 

Cup of Nightshade

Survivor ~ Track 9 ~ I Remember

In a quiet moment that follows, a complete memory surfaces. Not fragmented this time. Whole.

The scene shows us what the protagonist is remembering. We're transported into his past, seeing the memory as he experiences it. The memory comes on slowly at first, images emerging hazily, then taking shape - painfully, tragically.

Just before the core of the memory crystallizes, everything fades to silence. Only the string orchestra remains, just as in "The Fall." This sonic stripping away felt essential - grief this deep demands that raw, human quality that only strings can provide. The camera holds on the protagonist's face in the present as the memory overtakes him.

The memory transitions to sadness. Piano chords play echo first, some resolving into different chords that the echoes themselves. They are supported by a solo violin - a disorienting, mournful sound that mirrors the backward pull of memory itself.

But then, through the darkness, a happy memory breaks through. The protagonist smiles while crying.

A sweet waltz emerges - full orchestra, lush and tender. I deliberately kept electronic elements out of this waltz, wanting it to feel timeless and untethered from the harsh present. Except for one crucial detail: a single synth patch subtly weaves through the waltz at the end, playing the Tragedy Theme. It adds a hint of ominousness, a shadow of foreboding. We're watching something beautiful while knowing what's coming.

As the waltz ends, the darkness returns. The memory shifts to the tragedy itself, but now at a deeply personal level. We see how it affected him, how it destroyed him. The orchestral elements fade away, giving way to dark synth textures that swell with devastating weight. The truth becomes undeniable: he has lost his loved one to this catastrophe. Now we understand - this mission isn't abstract. It's rooted in a promise to someone who is gone.

09 ~ I Remember

I was born in Leicester in the late 1950's. Since semi-retirement and subsequent retirement (as a Dermatologist and formerly G.P) I have spent some of my spare time trying to learn music theory. I also enjoy long distance running as well as cycling, skiing and tennis. I enjoy cooking, gardening and growing a few vegetables. And fine wine (in moderation). I enjoy insect photography, with a particular interest in hoverflies..
To my regret I never learnt a musical instrument when younger but I have listened to and been fascinated by music for as long as I can remember. The advent of the computer age has allowed me to pursue my desire to compose music. I use Logic Pro X software (and MuseScore3 for recent piano compositions). My compositions reflect my varied listening preferences (including Contemporary Classical, Jazz and  Music from other cultures around the world).

The Sea Below [was Azure Blue]

SFJ

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Peter Grimbeek

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