Another track with emphasis on ethereal sound

An Epiphany / The Small Segment

...intergiveness...letting go...                                                                                                                   lost in music...

love, sex, friendship, happiness, suffering, betrayal, good, evil, heroes, villains, guilt, innocence, ambition, power, justice, revolution, war, fathers, mothers, daughters, sons, individual, society, success, failure, murder, suicide, emotional truth, social truth, actions, reflections, onlookers, bystanders, chance, attempt, encounter

Hello and welcome!

This is an industrial/electro project, heavily influenced by early nine inch nails from many many years back among many other things. A lot of work goes into it and I hope you'll find something here that resonates. 

Feel free to message me about anything, I'm very much open to discussion and collaborations.

Wishing you the best

John

A laboratory with an open bar and floating altar. Come on in! 

Here are various solo and collaborative projects - songs, soundscapes, live looped solo guitar improvisations. 

This project used to be called "imaginary friends", but it became too real for that name, as did many of you.

I hope you enjoy something you find here. Do feel free to be in touch, you never know what might happen.  

I also invite you to attend @hypnopompetus, a duo project with the illustrious Cheesemont Paisley-Paisley https://soundcloud.com/sel-sync, and Fictive Sisters, a transatlantic band with  the incomparable Wheelwright https://fictivesisters.bandcamp.com/album/immaculate-distraction.

I.D.M. = Imaginary Dance Music
I also invite you to my other channels: 
Jeekitch², Jeekitch³ and NºEASE. 
Thank you for stopping by!

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
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I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Berlin based singer-songwriter and music producer Brielle inspires us to look beyond ourselves and raise our awareness, not taking things for granted.

Using only minimal gear she is curious to explore the horizon, interweaving delicate acoustic textures with engaging electronic vibes. The compositions allure with a melange of mellifluous melodies embedded in picturesque sonic landscapes. Carried by a dandelion-like voice her passionate songs touch on social issues and personal subjects, telling stories that relate to migration and belonging, adjustment and change. They provide insight into an irrepressible soul, one that is always striving to move on, even at times when you feel lost in a sea of uncertainties.

As a nocturnal bird Brielle is at her best at a late hour. While the city is at sleep, she stops the world and breaks the silence to transform her joy and tears into little time capsules, preserving memories of affection and the solitude of the heart.

Hello! I will not upload anything more on here. Thank you everyone for your support during this amazing 3 year journey <3

An Epiphany / The Small Segment

William Persson