Vocal and guitar playing is refreshing and energetic 🌞🎶

cool song, reminds me a bit of Peter Gabriel, also the voice, though I only know him from the 80ies parties, Sledgehammer...and a few others

Just a short song about the rising cost of freedom

Land Of The Free

Hello, Goodbye

Free download--> https://www.zabirski.art/library/tracks/223
https://www.youtube.com/watch?v=aqhxbJwT6r4

Deszczowa dusza/Rainy soul

My Marie

Quite Possibly

WOW.... What a crew. Stephen aka TexMex Shaman and guitarist and  Producer extraordinaire and responsible for the awesome artwork, Janine Levinson with a voice that melts my heart, Uziel who is so courageous in her exquisite creations, and Jo Richter(Sonic Structures and Silent Stretches) Poet laureate and Sonic Naturalist all teamed up to make this little poem of mine into an Amazing Song. I am sending out big Love and Respect and Thanks to You all, and to EVERYONE else, out there In the Soup.

lyrics
Wretched light so aptly said libra ish in their balanced dread
Wretched light of another day ln the soup out there
the falling down and getting up, it's "Showtime" Fossi said
As he popped amphetamine in the shower scene
Or so it's said by some writer of his dreamy technicolor happenstance
That made the cut.

Could it be scorcery that I see
Through jaded glasses full of gin
Or just a conjury of collected clarities'

So sweet the experiential meat
Dark or light the gods prefer
Is not what we do not do for us
But them.

The guillotine of thoughtless bliss
Takes the Serpent's head
And tiny lights appear around my bed.

Chase the monster south for 14 winters and a night
It grinned across the canyon with a monstrous delight
I thought I saw you yesterday up on the ridge behind my house
It might have been the way you turned your head to speak
But the wind you know it blew your words away
What you said I couldn’t’ say
You know it really doesn’t matter anyway

Know Ware--TexMex Shaman-Janine Levinson-Uziel-Jo Richter

Was vor uns liegt

Uprising in Blue

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

eddy gave Josh and me a rocking and  skanking organ/guitar track to get us started - this is what we came up with :)))))
Beats are from Looperman - many thanks to the creators!
WuTang Drums by mk12345 and CalmariaXBoom-Bap Drums by Zeth9

5ynt Dub - with eddyoffline and Entheogenic Psychonaut (Josh Clary)

Mind Blowing

A soul from the US Pacific Northwest that writes and records music.  Instagram @ huber.e.f

Hello, Goodbye

E. F. Huber

Recent comments

Vibrating Metal Lady

Tot.

burn-it-smith

Tom Régnier

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