Lyrical Flames

Groove RMA 02 11 24

Oscar Borg @ H9 Darkroom | Live set | 18/10/24

Intro-Receiveth Flowers While I'm Here, Beat By-Flowers In Narnia, Song Written BY-TITANVINCHELI

https://open.spotify.com/intl-it/artist/5PTxJmqEF6bQ9gtxJJwx2R
Demo song.
Alternate version of N.M.A.+ , which is going to have lyrics and vocals in Italian.
Composing, music production by Sara Di Fonzo, Ransie in Neverland
Final mix to come
https://open.spotify.com/intl-it/album/2b2ARwaJSwmedrAlMNXfNs
https://open.spotify.com/intl-it/artist/5PTxJmqEF6bQ9gtxJJwx2R
www.facebook.com/ecololover
Demo instrumental
Music and music production by Sara Di Fonzo, Ransie in Neverland
Final mix with vocals to come
Ransie in Neverland 2025 live gigs to come. First live gigs ever for this music project.
Mosquitoes will be performed with vocals.
Started working on my music project +10 years ago. EcoLover, L.I.N.F.A. (Love Is Not For All) -won 3rd prize at International Prize Dostoevskij, Pain Is So Close To Pleasure, Hiding In The Dark were recorded and mixed at Bankstock Studios, London between 2012 and 2013.
Sara Ransie Graduated in audio production a few years ago. I love the Neve VR Legend.
I compose, arrange, sing, perform, songwriting, produce. Record instruments and final mix when possible. I never went live with this project Ransie in Neverland, but I am trying to make this happen in 2025.
Follow Ransie in Neverland on FB
www.facebook.com/ecololover

Caution - demo song (Alternate version of N.M.A.+)

https://open.spotify.com/intl-it/album/2b2ARwaJSwmedrAlMNXfNs
https://open.spotify.com/intl-it/artist/5PTxJmqEF6bQ9gtxJJwx2R
www.facebook.com/ecololover
Demo instrumental
Music and music production by Sara Di Fonzo, Ransie in Neverland
Final mix with vocals to come
Ransie in Neverland 2025 live gigs to come. First live gigs ever for this music project.
Mosquitoes will be performed with vocals.
Started working on my music project +10 years ago. EcoLover, L.I.N.F.A. (Love Is Not For All) -won 3rd prize at International Prize Dostoevskij, Pain Is So Close To Pleasure, Hiding In The Dark were recorded and mixed at Bankstock Studios, London between 2012 and 2013.
Sara Ransie Graduated in audio production a few years ago. I love the Neve VR Legend.
I compose, arrange, sing, perform, songwriting, produce. Record instruments and final mix when possible. I never went live with this project Ransie in Neverland, but I am trying to make this happen in 2025.
Follow Ransie in Neverland on FB
www.facebook.com/ecololover

Mosquitoes- demo instrumental mixed in a 20 pounds Sony headphones

Dont Do Drugs Kids this was just hitting with the instrumental i cant help it another dummy demi got me pissed but fuck it It comes out for a reason i deleted facebook done with the bullshit all the accounts they set up to take from me think its a game its over im not working for anyone to make them money or write their lyrics damn shame right to what exists in this world whos kept from me al so you can all make a dollar not only that set my kids up to do things to my kids the evil power is you distrubution you had a network me know you have shit fuck all of you trying to take from me your fake as hell 

Reff Treaky - Go Packet Tax It  2024-11-28 20_31.m4a

clips 2024

Latest Update 20.01.2025 10.30pm
The Miyagi Headband Mix knows no boundaries and has no boundaries. It will change size without warning.
The Miyagi Headband Mix is an unrehearsed, regularly updated mix from  Castleford, Yorkshire, UK. There is no planning. Multiple genres  -it depends which way the wind blows that day.
The Miyagi Headband does not let perfection be the enemy of the good.

The Miyagi Headband - Chapters 1-20

This song was composed & recorded around 1982/83.
This is an AI master from 2024.
So anyone who hears this is hereby warned 🤓

Current songs can be found here:
www.youtube.com/@wolfgangeichholz

Handmade

BOOKLET: https://eklektikaberlin.com/files/1383302/the-nearness-song-cycle-lyrics-and-story.pdf

LISTEN TO THE FULL ALBUM: 
https://soundcloud.com/user664246732/sets/the-nearness?si=42664a3fff404f73aa1162da61729024&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Urban historians often describe the 1970s as an era of fractured soundscapes: streets where competing rhythms—traffic, protest, industrial hum, improvised jazz, early electronic experimentation—collided without coherence. Yet one neighbourhood in a fading industrial city became the site of an anomalous acoustic event that scholars later termed The Urban Symbiosis.The story emerges from fragments: an abandoned rail depot, a violinist who played for coins under flickering neon, a guitarist who rehearsed in a rooftop greenhouse made of cracked glass, and a city learning, reluctantly, how to listen. Nobody knew their names, and so when some children heard them play and came up with the name, it soon stuck. 

Call arrived in the city in 1974, carrying a battered case and an idiom critics struggled to name. Part free-jazz, part Eastern European folk, part spiritual searching, Call’s violin sound carved through the cold evening air like a blade seeking memory.They played on the corner of Vine and Mercer—an intersection where three things were always broken: the traffic light, the curb, and the promise of progress. Call’s phrasing was urgent, questioning, full of unresolved intervals that hung above the street like unanswered letters. Listeners sometimes described it as “the city arguing with itself,” others as “loneliness translated into pitch.” The neighbourhood received Call’s music not as entertainment but as intrusion: a call sent into a city that rarely had time to answer.

Across the street, seven floors above the world’s dissonance, Echo tuned a semi-hollow electric guitar in the greenhouse of a derelict apartment building. Echo’s sound was introspective, contemplative—a mixture of warm jazz chords, early psychedelic ambience, and the reflective melancholy of someone who had learned more from reverb than from conversation. If Call’s violin reached outward, Echo’s guitar folded inward. If Call questioned, Echo remembered. If Call accelerated, Echo sustained. They had never met, never seen each other, never known the other existed. Yet each night, as the city exhaled its industrial fatigue, their sounds began to intersect. Architectural acousticians later noted that the depot’s old steel supports and the narrow canyon of the street created a peculiar resonance corridor. Sounds from the street floated upward; sounds from the rooftop drifted downward. Thus, one evening, Call launched into a sharp ascending motif—half lament, half declaration—and Echo, without knowing why, responded with a descending chord sequence shaped like memory answering pain 
(SEE THE BOOKLET FOR THE REST OF THE STORY)


URBAN SYMBIOSIS (The Nearness 11)

Guitarist / Composer / Member of BluesRock - Project 'Point Zero'
with passion for Blues and Latin.

Handmade

Wolfgang Eichholz

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