This is the single version of Ride the Storm which was released last year. This is a song about conflict, and about how to deal with it. It is either between two people, or at a bigger level, for example between countries. This could be seen as an attack on a person by a partner or a colleague, or by the invasion of one country by another. The idea of to “ride the storm” is to stand up and defend yourself and not retreat or run away, or appease. But the idea of defending oneself on a beach is also problematic – it shows that you were not in a strong position at the start, and that this needs to be dealt with. Please listen to the full 14 minute version.

STORM

You have a big secret. As you walk around during the daytime nobody can see it. But the pressure is driving you crazy. You have tried so many times to say something but you are afraid of how others will react. You are in limbo, this unsatisfying in-between place.

It’s like you have locked yourself away in a castle in the middle of the forest. Tonight will be different. You are brave. As the sun sets you leave quietly and run through the forest until you reach the last hurdle in your mind - but then lights go on, the sun rises, and everyone can see you. 

You panic and lose your nerve. What will happen when people find out who you really are? You are not ready yet to come out and share your secret, and so you go back and lock yourself into the castle of your mind again. Maybe you will have the strength tomorrow…..

IN LIMBO

A laid back piece - interpret the title as suits you!

TRANSFIGURATION

Part of a group of songs under the overall heading of "The Journey" - astral plane, dreams, afterlife

SILHOUETTE

A new version of the song "Hide in Plain Sight" - you cannot escape your mobile phone or being tracked whatever you do. Your legacy will follow you forever. This is from the perspective of the smartphone.

HIDE

This is an alternative new age version of my original song, "Hide in Plain Sight". The female vocal sounds very innocent, but the message is a dark one - you can't escape being tracked, and even after you have passed away your digital legacy remains

I AM EVERYWHERE

Baroque n'Roll Part 4/7: the story continues and percussion takes over - then classical influences arrive

Baroque’n Roll: The Forgotten Roots of Rock Music
In the summer of 1743, an unexpected musical revolution began—not in a dusty recording studio or smoky juke joint, but on the elegant quayside near St. Mark’s Square in Venice. Trading ships from North Africa had just arrived, their weary sailors disembarking after weeks at sea. As they wandered into the heart of the city, they heard something strange and beautiful wafting through the air: the lilting strains of a Vivaldi concerto.
It was unlike anything they had ever heard. The intricate violin lines danced over a sea of strings, fast, elegant, hypnotic. Enchanted, the sailors began to move in rhythm. One of them, unable to contain himself, pulled out a drum and started tapping along. The beat was unfamiliar but intoxicating. Others ran back to the ship, returning with drums, rattles, and reed pipes, joining the impromptu jam with growing fervor.
At first, the assembled Venetian audience and musicians were taken aback. Sailors of every hue and origin, dusty and bedraggled, were now inserting the raw pulse of African rhythm into the refined harmonies of European art music. But something unexpected happened: the conductor smiled, turned, and gestured for the sailors to join in. The musicians welcomed the newcomers, and together they created something no one had ever heard before—a thrilling blend of Baroque counterpoint and tribal percussion.
The audience couldn’t help themselves. They stood. They swayed. They danced.
And thus, the music that would later be jokingly—but perhaps accurately—called baroque’n roll was born.
 
The Rise and Fall (and Rise Again)
Word of the strange new fusion spread quickly. In the bars and clubs of Venice, musicians from across the city sought out the sailors to recreate the ecstatic sound. Traditional minuets were layered with syncopated drumming. Harpsichords clashed joyfully with hand percussion. The result was wild, passionate, unrestrained.
But not everyone was thrilled. As the music gained popularity, it also attracted controversy. It became associated with drunken nights, opium dens, and dancefloors filled with unrestrained bodies. The authorities, alarmed by its popularity and its power to loosen social norms, cracked down. The Church denounced the new music as immoral and dangerous. Performances were banned. Instruments confiscated. Musicians punished.
And just like that, baroque’n roll vanished from Europe.
Or did it?
 
Echoes Across Continents
Though it disappeared from the concert halls of Venice, the rhythm lived on in the hearts of the sailors. Back in North Africa, the fusion sounds mingled with local musical traditions, and over generations, elements of baroque'n roll filtered into folk and ceremonial music.
Centuries later, in the American South, the blues emerged—a gritty, soulful music rooted in African rhythm and European harmony. And in the 1950s, when electric guitars met gospel harmonies and driving backbeats, rock’n roll burst onto the scene. Musicologists, always curious, later analyzed its structure and were stunned: syncopated rhythms over repeating chord progressions, dramatic dynamic contrasts, and the constant push between emotional intensity and formal structure. It all echoed the Baroque masters—Bach, Handel, Vivaldi—reinterpreted through new instruments and voices.
Could it be that the seed planted in Venice in 1743 had simply taken centuries to bloom?
 
A New Perspective on an Old Sound
What if we’ve been calling it the wrong name all along? What if the so-called “invention” of rock was really a reawakening—an echo of a forbidden moment of musical fusion on a Venetian quay?
Rock’n roll? Maybe.


Baroque n'Roll Part 4

Baroque n'Roll Part 5/7: the genre goes out of control as classical morphs into nu-metal and back again.

Baroque’n Roll: The Forgotten Roots of Rock Music
In the summer of 1743, an unexpected musical revolution began—not in a dusty recording studio or smoky juke joint, but on the elegant quayside near St. Mark’s Square in Venice. Trading ships from North Africa had just arrived, their weary sailors disembarking after weeks at sea. As they wandered into the heart of the city, they heard something strange and beautiful wafting through the air: the lilting strains of a Vivaldi concerto.
It was unlike anything they had ever heard. The intricate violin lines danced over a sea of strings, fast, elegant, hypnotic. Enchanted, the sailors began to move in rhythm. One of them, unable to contain himself, pulled out a drum and started tapping along. The beat was unfamiliar but intoxicating. Others ran back to the ship, returning with drums, rattles, and reed pipes, joining the impromptu jam with growing fervor.
At first, the assembled Venetian audience and musicians were taken aback. Sailors of every hue and origin, dusty and bedraggled, were now inserting the raw pulse of African rhythm into the refined harmonies of European art music. But something unexpected happened: the conductor smiled, turned, and gestured for the sailors to join in. The musicians welcomed the newcomers, and together they created something no one had ever heard before—a thrilling blend of Baroque counterpoint and tribal percussion.
The audience couldn’t help themselves. They stood. They swayed. They danced.
And thus, the music that would later be jokingly—but perhaps accurately—called baroque’n roll was born.
 
The Rise and Fall (and Rise Again)
Word of the strange new fusion spread quickly. In the bars and clubs of Venice, musicians from across the city sought out the sailors to recreate the ecstatic sound. Traditional minuets were layered with syncopated drumming. Harpsichords clashed joyfully with hand percussion. The result was wild, passionate, unrestrained.
But not everyone was thrilled. As the music gained popularity, it also attracted controversy. It became associated with drunken nights, opium dens, and dancefloors filled with unrestrained bodies. The authorities, alarmed by its popularity and its power to loosen social norms, cracked down. The Church denounced the new music as immoral and dangerous. Performances were banned. Instruments confiscated. Musicians punished.
And just like that, baroque’n roll vanished from Europe.
Or did it?
 
Echoes Across Continents
Though it disappeared from the concert halls of Venice, the rhythm lived on in the hearts of the sailors. Back in North Africa, the fusion sounds mingled with local musical traditions, and over generations, elements of baroque'n roll filtered into folk and ceremonial music.
Centuries later, in the American South, the blues emerged—a gritty, soulful music rooted in African rhythm and European harmony. And in the 1950s, when electric guitars met gospel harmonies and driving backbeats, rock’n roll burst onto the scene. Musicologists, always curious, later analyzed its structure and were stunned: syncopated rhythms over repeating chord progressions, dramatic dynamic contrasts, and the constant push between emotional intensity and formal structure. It all echoed the Baroque masters—Bach, Handel, Vivaldi—reinterpreted through new instruments and voices.
Could it be that the seed planted in Venice in 1743 had simply taken centuries to bloom?
 
A New Perspective on an Old Sound
What if we’ve been calling it the wrong name all along? What if the so-called “invention” of rock was really a reawakening—an echo of a forbidden moment of musical fusion on a Venetian quay?
Rock’n roll? Maybe.


Baroque n' Roll Part 5

My songs often dwell on the possible dark futures, but today’s world also offers abundant reasons for hope.  Medical innovation is saving lives, renewable energy is reshaping economies, endangered species are recovering, and ordinary people continue to show extraordinary kindness.  These developments remind us that progress and empathy are not only possible but already happening—offering a real counterpoint to despair and a foundation on which a more hopeful future can grow.

“Good News” is a chilled and positive upbeat jazz/r’n’b celebration of human progress and everyday kindness, turning real-world advances into a musical sunrise of hope.  Images of solar fields, children laughing by restored rivers, and tigers roaming recovering forests highlight tangible environmental and social achievements, while the chorus—“hope is on the move, the world keeps proving what people can do”—underscores the power of collective action and small acts of love.  The message of the song is that despite the world’s troubles, compassion, innovation and resilience are steadily creating a better future.


Good News: A Snapshot of Positive Change Around the World
1. Health & Medicine
Eradication Progress – 
Global health campaigns continue to shrink the reach of deadly diseases. Polio is now endemic in only two countries, and cases of Guinea worm disease have dropped from millions in the 1980s to fewer than a few dozen today.

Medical Breakthroughs – 
Advances in mRNA technology (first showcased in COVID-19 vaccines) are now being applied to experimental vaccines for malaria, HIV and certain cancers, promising dramatic improvements in global health in the coming decade.

2. Climate & Environment
Rapid Growth of Renewable Energy – 
Solar and wind power have become the cheapest sources of electricity in most regions. 2024 saw record global installations of clean energy, with many countries already surpassing targets once set for 2030.

Rewilding & Species Recovery – Conservation projects are bringing species back from the brink: wild tiger numbers are rising in India and Nepal, European bison herds are expanding across the continent, and whales are slowly recovering in several oceans.

Youth-led Action – 
Grassroots movements are driving local governments and cities to adopt ambitious climate adaptation plans, turning awareness into tangible policies.

3. Technology & Innovation
Clean-Tech Acceleration – 
Breakthroughs in battery storage and green hydrogen are making carbon-free transport and industry increasingly viable.

Accessible Knowledge – 
Digital tools and open-source education platforms now allow millions to gain skills and degrees regardless of geography or income, widening opportunities and lifting communities.

4. Society & Human Rights
Global Poverty Decline – 
Though challenges remain, the share of people living in extreme poverty has fallen dramatically over the past three decades, and targeted microfinance and education programs continue to reduce inequality in many regions.

Advances in Gender Equality – 
More girls are completing secondary school worldwide than at any point in history, and women’s participation in politics and business leadership is steadily rising.

Grassroots Peace Efforts – 
Local mediation projects from Colombia to Kenya show how communities can defuse conflict and build lasting peace from the ground up.

5. Acts of Everyday Kindness
Beyond statistics, countless stories of human generosity surface each day: neighbors organizing food drives after disasters, volunteers tutoring children in underserved areas, and individuals quietly caring for the elderly or marginalized.  These unsung acts knit societies together and prove that compassion remains a powerful force.

GOOD NEWS

ETERNAL THRESHOLDS BOOKLET (EN) https://eklektikaberlin.com/files/1371805/eternal-thresholds-booklet.pdf
HORIZON IX BOOKLET (EN) https://eklektikaberlin.com/files/1369223/horizon-ix-the-story.pdf
HORIZON IX BOOKLET (DE): https://eklektikaberlin.com/files/1369835/horizon-ix-the-story-de.pdf

The Architect stands at the edge of the last intact observation platform on Earth.

The seas have swallowed coastlines, cities stand half-empty, and the air hums with the sound of evacuation drones. His task is not to save what’s left, but to record it — every texture, sound, and image — so future generations, or future intelligences, can rebuild a simulation of the old world.

He moves through abandoned streets with a scanning device slung across his back, capturing the last moments of collapsing bridges, cracking ice shelves, and wind tearing through once-busy marketplaces. His mind flickers between awe and grief: awe at the beauty of decay, grief at the knowledge that the real thing will soon be gone forever.

The Architect travels down into the sealed subterranean cities, where light is synthetic, air is engineered, and no one remembers the real sun.

The song becomes his diary entry — a mixture of technical precision and aching nostalgia — as he etches the “blueprints” of Earth into crystal memory vaults. But as he listens back to the recordings, he notices something unsettling: the data is already degrading, the sounds warping into something alien. The world is disappearing even as he tries to preserve it.

“Blueprints for a Vanishing World” is a lament for a collapsing civilization, weaving images of climate crisis, urban decay, and failing digital archives into a meditation on impermanence. The song contrasts the instinct to preserve — through blueprints, maps, echoes, and digital files — with the inevitability of loss, as both physical landscapes and stored memories dissolve. Its chorus turns preservation into an act of quiet defiance: tracing, etching, and holding fleeting moments even as they vanish. Ultimately, it portrays humanity’s fragile but enduring desire to remember, granting dignity to what is disappearing even when preservation cannot stop the fading world.

HORIZON 2:  BLUEPRINTS FOR A VANISHING WORLD

BOOKLET: https://eklektikaberlin.com/files/1377739/five-the-fifth-season-booklet.pdf

CHAPTER 2 - AUTUMN
“The Empty Migration” mourns the sudden absence of the natural rhythms that once defined autumn, using the silence of missing bird flocks as a haunting emblem of ecological and emotional dislocation. The empty sky signals not only climate disruption—currents gone astray, instincts lost—but also a deeper human grief when the familiar markers of time and continuity vanish. Waiting with a lantern by the gate becomes a quiet vigil for both the birds and the certainty they once brought, turning the lost migration into a metaphor for the fragility of memory, tradition, and our connection to the living world.

EMPTY MIGRATION (FIVE 2.2)

This is the music project of Steve Lewis, a classically trained cellist and multi-instrumental singer-songwriter based in Berlin, Germany. 

The name eklektika.berlin is striking and layered—it carries both an immediate sonic appeal and a set of resonances that fits the project’s artistic and philosophical ambitions:

1. Wordplay and Etymology
-Eklektika derives from the Greek eklektikos (“selective,” “choosing the best”), which in modern usage signals eclecticism—an openness to many styles and influences.
-The -ika ending also hints at “musica,” giving it a subtle musical cadence.
-Written in a slightly unexpected “k” spelling, it feels at once ancient and contemporary, European yet cosmopolitan.

2. Berlin Anchor
-Pairing it with .berlin instantly grounds the project in a city long known as a crossroads of cultures and avant-garde experimentation—from Weimar cabaret and Bauhaus to today’s electronic scene.
-The domain-style format suggests digital nativity and a living online presence; it reads simultaneously as a brand, a collective, and a web address.

3. Artistic Implications
-“Eklektika” signals that the work blends genres, eras and media—classical forms, rock energy, AI-generated textures—without being confined to one school.
-The Berlin reference underscores a tradition of boundary-pushing art and hints at an international, forward-looking ethos.

4. Memorable & Marketable
-Short, easy to pronounce in many languages, and visually distinctive with its twin “k”s, it is search-friendly and brand-ready.
-It invites curiosity—people instinctively want to know what “eklektika” means and why it’s tied to Berlin.

eklektika.berlin communicates exactly what the project embodies: a bold, eclectic fusion rooted in Berlin’s creative energy while open to global and futuristic influences—an identity that feels both timeless and unmistakably of the AI-age.

EMPTY MIGRATION (FIVE 2.2)

Steve Lewis eklektika.berlin

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