Meditation on the process of growing into this world.

2015 March 15: Finally transcribed the monologue, upon which this whole track is based. Here it is:

I wonder sometimes about how we're born, 
how we're conceived, how consciousness arises from nothing...
Or, is it from nothing, or
are we simply transubstantiated from our previous
spiritual state into a new little embryo?
Or, when does our spirit enter our bodies?
When does our physicality become -- spiritual?
When does our soul enliven, animate our body?
Does it happen at conception? 
The moment of sperm fertilizing the egg? 
Does it happen at the moment of our parents' orgasm? 
Does it happen at the point of birth? 
Or is it a gradual thing? 
I tend to think that it's a process. 
I tend to think that our spirits, our "Oversouls," if you will, 
make this agreement
while we're out in the spirit world, in the "Well of Souls," 
we make this agreement with
all the other souls there. 
We say, "I'm going to inhabit THAT persona this lifetime. I'm going to choose to be 'Keith' this lifetime."
So, then we undergo this process, this transubstantiation of the spirit, of that Oversoul, 
some part of that Oversoul separating, transubstantiating into physical form, 
and that it takes 9 months.
Maybe that process is what guides the development of the embryo, 
and, it just takes 9 months, 
and by the time we're born, we are fully inhabited
by our soul. 
And we forget that transubstantiation 
is the process of the Oversoul forgetting 
and letting go of that "Oversoulness," 
and becoming just a part, a little part, a little baby. 
And then it takes the rest of our lives, after being born, 
to remember; 
to remember that we are divine, and we are part-- we ARE
part of the Oversoul, we ARE OF the Universal Divinity. 
We ARE part of the Universal Divinity.
We are Children of God. 
What a dreamy time that is to be in, 
what a perfect place to transubstantiate,
in the womb of our mothers... 
And I always think of the fact that seawater and amniotic fluid-- 
the fluid that we are surrounded with and that we grow in, and that we develop in in our mother's belly, 
is the same chemical composition as sea water. 
And so, what a dreamy, beautiful, peaceful time that is. 
To awaken, gradually,
over the course of 9 months, to this life,
and to forget the spirit world, 
from whence we came. 
What a dreamy time, floating in our perfect little world, 
gradually awakening to the sounds that are happening outside our mother's womb. 
And familiar with her voice,
the way she moves, gravity, 
all these feelings of what Earth is, what physicality is, what it means to be a human, on Earth; 
our father's voice, the voices of our mother's friends and loved ones, 
the sounds of her world, becoming
where, gradually, through all this, this new world. 
What a perfect introduction 
into this physicality, into this-- 
humanness...
 

2013 Aug 16: Remix for less reverb overall, and to drop the narration and wandering melodies further back in the mix. I like this better, as it focuses more on the ostinato music accompaniment and makes the track more mysterious and delicate.

Little 1

Cool little instrumental. A little journey in which I keep adding little melodies, blips and bleeps until it gets to a nice textural place, then subtract parts again to come back home. Composed in Korg Gadget.

Senlin Ascends with Gadgetry

Caldub

This sweet little ditty was composed for my goddaughter Sahara... The sunny feeling I get when she smiles at me... <3

Mia Sahara

Lyrics: 

When I am alone I get to...
I can play music all day, dance forever
Me & my dream girl we can ride trains all day
I can dream all day of my Star Trek future

Unseen Fall
No one there to catch me
Unseen Fall
No one there to help me up again
Unseen Fall
No one there to kiss my booboo
Unseen fall
No one there to say…

It will be alright.
It will be alright, it will be okay babe. 

When I am alone and walking
Me and the forest we are singing rounds
I turn around and there a tree had fallen 
No one around and so had made no sound. 

Unseen fall
No one there to hear it
Unseen fall
No one there to answer the koan 
Unseen fall
No one there to chop the forest down
Unseen fall
No one there to say… 

It will be alright. 
It will be alright, it will be okay babe.

Unseen Fall 2022-12-03b

Unseen Fall

Our first try at Riffusion -- a text-to-music AI -- was super-fun. We spent a couple of hours mesmerized by what the AI interpreted from my text. We recorded several stints, then edited out the bad phrases and repeated the good. Here's our first edit, which we're pretty happy with. 

Riffusion: https://www.riffusion.com/

Cover image created by Keith with the help of the Night Cafe Studio text-to-image AI. https://nightcafe.studio/

Ninja Dred Girls - Saffusion

Another long-form jam by the gals in conjunction with AI composer Riffusion.

Ninja Dred Girls - Infusion

Created with SynthScaper on my iPhone while laying in bed last night, yearning for the stars...
Photography by Keith and NightCafe Studio.

yugenro - Widowhue Nebula

Widowhue Nebula

Created with the iOS synth mononoke, along with multi-effects Other Desert Cities and Arturia's Delay Eternity. All three allow long-duration LFOs and extensive modulation capabilities, which enable long-form ambient pieces.

particles+waves

21slononoke

Another long-form iPhone-in-bed SynthScaper improvisation, finished in Logic Pro X.

One of my favorite sfx in this track is the revving and backfiring engines of my neighborhood street racers. I live up on a hill, and these kids would be racing down on the flat valley streets all night long, so on nice nights when I'd sleep with my bedroom window open, I'd hear them. And for the longest time it annoyed the heck out of me. But eventually they started becoming part of my dreams, and so one night I just recorded them and essentially built this track around their massively-processed ambience. The result sounds like spaceship races, and is pretty cool, I think.

TransXwave

A strange sequencer groove in 7/4, sort of, but more like 23/4 followed by a measure of 5/4 (or something weird like that). Originally created in 2020 with one of my favorite synths, iOS's SynthScraper, I finally brought it into Logic Pro and added the complimentary other parts.

Regarding the title, by "en-human," I mean "loosely human," or "human-like." Not "INhuman," which means cruel. Not "unhuman" which means NOT human. But "en-human," which means "beyond human," even maybe "transhuman." The track feels human-like, but a bit beyond where we are right now as a species. Maybe in a couple hundred years, we'll be ready for it...

En-Human

A dreamy track of gentle synth pads and light vocals by yugenro and Ninja Dred Girls.

Strawberry Purpose, featuring Ninja Dred Girls

Lyrics: 
(What I see I fear,
What I feel I hear.)
What I see's what I fear,
What I feel's what I hear.

Haltingly Motion 2024 (what I feel I hear)

Attempt to create a musical theme for my friend Rachél's podcaste... Summer drum circle at the beach, under the moon... congas, djembes, one alto flute. Bonfire, blowing wind, and friends.

Rachel drum circle

Second try on Korg Gadget, after this morning's purchase of Gadget for iOS; this one was done on Korg Gadget for MacOS. Super-fun electronic groovestation!

Babyface

Love song for everyone.

Saturday, April 14, 2012:
OK, I might be officially done with this one! Changes: I EQ'ed a bit of low/mid out of the vocal reverb to help clear up that frequency space against the Pro-53 padding. Added a higher octave to the kick/bass line, hoping to help it better reproduce on small speakers. And finally, I fixed a whole bunch of the vocal lines, to bring them into rhythmic and melodic agreement (clarified the melodies with Melodyne). 

Saturday, April 7, 2012:
I keep tweaking this one! For today's version, I pitched the kick drum, turning it into a really cool bass line. I also further refined the mix, doing some panning and subtle volume adjustments on individual parts.

Friday, April 6, 2012:
OK; for this version, I added the harmonies I've been hearing for a long time, and cleaned up the rhythm on the main melody. And added the drums. And did some pretty serious mixing. And now I think its done for a while. I'm pretty happy with it. It makes me happy. And I like that.

Lyrics:

I'm not alone and I feel so happy
I'm with you babe and I feel so sappy yeah
I need to know is this really how it feels?

If this the way it's gonna feel then
maybe i should just join the children, yeah.
if this the way it's gonna feel then, yeah.

If this the way it's gonna be then i should,
should never miss anything important, yeah,
and yes it's feelin' like it's gonna get much better.

your loving vision bubbles deep within your heart
and rises up for everyone to play their part,
your always striving to bring us together.

'cause i know i'm in love,
yeah i know i dream,
and i feel so good
and life's the way I'm feelin'.

you say the word and it becomes real,
the love you speak is the way i feel, yeah,
so don't be stopping your poetry gets better.

you pick a world and i fall into it,
it's just the best place I could ever imagine yeah,
its never one thing its always a million, yeah.

'cause i know I'm in love
yeah i know i dream
and i feel so good 
and life's the way i'm feelin'.

'cause i'm feelin' like it,
yeah i'm feelin' like it,
'cause I'm feelin' like its the way it shd be, yeah.

I'm alive, 
and i dream,
and i feel so good, life's the way I'm feelin'.

yeah i know,
yeah i dream,
i feel so good and life's only getting better.

Happy-Feelin' LoveDream

Just a little ditty I whipped up the evening of May 19th. All Logic Pro 9 and its built-in softsynths, played from my X-Station 25.

For the May 29th version, I added a lead synth line and did some mixing/processing.

Blue Star

I love music. I have fond memories of singing with my family in the car, harmonizing in rounds and singing along with the radio to the Carpenters, or in the living room to the Sound of Music.

I have always loved the sound of human voices harmonizing together, raising each other's vibration, both simultaneously giving voice to other-worldly Spirit and being driven by that same otherworldly Spirit to connect with something larger than any one of us alone; and thru this higher connection, realizing the true joy of our common, divine identity...

I love the universal humanity of singing: the voice is the cleanest, purest instrument of audible human expression. Such qualities are the most direct way to the heart.

But I'm interested in stretching myself too. I love reaching for more expression of feeling, in experimenting and manipulating my music in service of expanding emotional experience. Such stretching reflects one quality I love about science fiction: in sci-fi, humanity stretches its vision into possible futures and all sorts of places that the promise of our hopeful imaginations can take us. In that way, I often imagine my music as a soundtrack to beautiful and otherworldly sci-fi/fantasy settings, utopian futures that I love to daydream about… 

I love SoundCloud for many reasons: it's how many musicians these days (including me) share their most intimate, ineffable souls. And it's timeline comments allow us to connect with each other, to support each other, to help raise our common vibration, and to simultaneously remind ourselves of our common divinity. Thank you, my virtual vibrational brothers and sisters...

A little history:

I've always had music in my life. I grew up singing rounds of "Frere Jacque" and "London's Burning" with my family. I sang in the church choir and in high school, I made the Texas All-State choir.

I started composing music in college, using staff paper and pencil, then learned enough keyboard to pluck out melodies and chords, at which point I started using two cassette decks to bounce multiple takes and thus layer instruments and vocal harmonies. Also in college, I took a composition class which gave me access to their electronic music lab. The lab was built around an ARP 2600 which was both exciting and frustrating: you had to plug in at least a few wires (in all the right places!) to even get the thing to make a sound. But, as frustrating as that classic synth was, I was hooked.

My friend Dell Little and I (together known as Syntax) continued to compose music however we could: we purchased a used TEAC A-3440 4-track open-reel deck and instantly had quality multitrack recording capabilities. Dell then bought a Yamaha DX-7, and I bought a Roland SDE-1000 digital delay, and we were off!

Syntax led to Renjeaux, our first band, which, after a few months of weeding, settled into me and Dell, along with drummer/keyboardist Domingo Leija, guitarist Luis Longoria, and artist Lawrence Garza. While Renjeaux never officially played a gig, we composed and recorded originals of uniqueness and sufficient complexity to impress Donnie Jones and Chris Fisher of Shreveport's the Late Show, which was an extremely talented and rockin' working band who were simply masters of progressive '80s synth pop. Chris and Donnie invited us up to Shreveport to pool our gear and take a crack at the commercial music industry. While we never made any money working out of their studio, Arthurized Music, we did make some really cool music, and I hooked up with prodigious musical naturalist Geoff Walden to produce the first King Felix album, 1987's "Rivers and Veins." KF even played two gigs with new members Wade Ozment on guitar and Mitchell Player on bass. 

I'd had enough, though, of being a starving artist, and went back to college, where I earned a Bachelor's degree in English and then continued on into grad school because I wanted to create a Master's project, which eventually became 1996's "logos, eros, cosmos," a 48-minute original music and 416-digital-image multimedia piece. I had purchased a Yamaha SY-85 workstation synth with gift money from my first degree, which begat 1994's "cloud-hidden," the first official yugenro release. 

Also around that same time, I was joined by Keith Krause and Gregg Willman to form (officially the second incarnation of) Makak, an all-drum, world-beat, gigging party band. Makak played quite a few shows in the Corpus Christi area, always to excited audiences, and also released a full-length album, 1995's "Visiting Dog." 

Since then, I've been composing tracks here and there and compiling them into loosely-themed "albums," including 2004's "Technoliberación," and 2010's "Oashaa." 

As of Feb 2012, I have become newly-inspired to create some new music, which always has been and continues to be my first and foremost passion. Stay tuned for more music!

PS: check out this blog entry which details my musical history: http://yugenro.com/2009/09/19/yugenro-music/

<3 kr-y

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