#Writing #Music Monday: Sir Agent Chill by K4MMERER

27 Jul

[cover] Kammerer - Sir Agent ChillK4mmerer (aka Kämmerer) is a Swedish composer who has been putting work into the Creative Commons since 2008, and is still going strong.

The cover, and some of the track titles, might be a touch misleading. Sir Agent Chill isn’t really James Bond-style music. The tag attached to this post that seems most apt to me is “chillout”. It’s very calming, soothing synth work, but melodic and tuneful as well, rather than just sonic wallpaper.

And there’s a lot of it. Fifteen tracks, giving you just over an hour of continuous music to write to.

Download Sir Agent Chill by K4mmerer free from Jamendo, or from the Internet Archive.


Creative Commons License
Sir Agent Chill by K4MMERER is licensed under a Creative Commons Attribution-ShareAlike 3.0 International License.

How (and Why) to Use Free Culture Lyrics In Your Book

21 Jul

"I've got the 'white boy tryin' to use song lyrics in my novel blues.'" Image by zooverano, CC0

“I’ve got the ‘white boy tryin’ to use song lyrics in my novel’ blues.”
Image by zooverano, CC0

A year and a half ago, I did a post titled “A different way to legally quote lyrics in your books“, providing a legal, workable alternative to bringing in song lyrics to your novel without putting yourself at the mercy of the litigation-happy recording industry.

It has come to be the post I refer to most often on social media, somewhat to my surprise, and the more I link it, the less happy I am with how non-comprehensive it is.

So today I return to the well, and aim to do a better job of explaining what the Creative Commons is, what Free Culture licenses are, and how to go about finding songs whose lyrics you can use in your books with minimal fuss and no legal vulnerability on your part.

But before we go exploring the Commons and Free Culture, let’s deal with what all new writers are actually trying to do.

Do Not Use Mainstream, Major Label Songs In Your Writing

you may cast me off
but i remain
you may tell your tale
but i’m the same

— Bert Jarred, “Spectacular“, CC BY 3.0

You’ve been working on your novel for a long time, and it’s the greatest book ever written, and the only thing that could make it more perfect is if you could just use this one perfect song lyric as an epigraph.

Don’t.

I don’t care how perfectly “Stairway to Heaven” or “Under The Milky Way” are suited to your story. If you quote them, there will be legal consequences.

You can — probably — get away with referring to the name of the song, and the band name, in the story. But I wouldn’t even go that far, personally.

There is a theoretical limitation to copyright known as “fair use” in the United States. In theory, people have the right to use a portion of a copyrighted work in a larger, original creation.

In reality, the Recording Industry Association of America (RIAA) (or your local equivalent if you’re outside of the US) is going to bring suit against any use for which they did not get paid and to which they did not give permission.

It doesn’t matter how cool the band or artist is with fans making use of their works (and some are, but they don’t get the final say). The major labels and the RIAA sue, basically, everybody. Unless you’re Stephen King or Dan Brown, you don’t have the resources for the knock-down, drag-out legal fight that would ensue. As far as they are concerned, there is no fair use until it has been litigated, and the purpose of that is to create a very expensive barrier to entry for any use.

Don’t believe me? In 2007, Stephanie Lenz posted to Youtube a 29 second video of her toddler dancing. Her child was dancing to Prince’s 1980s classic “Let’s Go Crazy”, which can be heard (poorly) in the background of the video. Universal Music Publishing Group had Youtube pull the video due to a claimed copyright violation. (“‘Universal’s takedown notice doesn’t even pass the laugh test,’ said EFF Staff Attorney Corynne McSherry.“) The lawsuits and countersuits started that same year.

It is now 2015, eight years later, and the suits still have not been decided.

That’s over a 29 second dancing baby video, from which the song in question could not possibly be pirated, or detract from the copyright in any way.

Do you really think using lyrics in your novel will get you less of a legal quagmire than a dancing baby video?

So, you can (again, probably) use a song title and connect it with the band or artist’s name in your story, but do not go further than that, or you’re all but certainly going to regret it.

What is the Creative Commons?

did you think that you could save me from myself?
i’d rather stare at these four walls i know so well
i know their stories, i know their hells
i’ve been there too and i think they need my help

— madalyniris, “Leave And Never Look Back“, CC BY 3.0

The Creative Commons is a non-profit organization founded in 2001 by Lawrence Lessig and others, with the goal of promoting general licenses so that artists and creators can choose to waive certain rights otherwise protected by copyright.

A work released under the Creative Commons does not include the phrase “all rights reserved”, but instead says “some rights reserved”, with the particular license making clear which rights those are.

The goal of these licenses is to encourage people to share creations that they like with others. Some licenses restrict you only to that, while others grant more and wider permissions. And culture consumers can do so without fear of being punished for, say, making a mixtape-playlist and giving it to a friend.

What are Free Cultural Works?

A thousand footsteps outside my door
Well they don’t seem to matter anymore
I’ve seen the signs along the wall
Mine is the greatest sign of them all

— Glenn Wilson, “Try“, CC BY-SA 3.0

You can read more about them at the Creative Commons site, but here’s a quick thumbnail.

There are four necessary characteristics for a work to be part of Free Culture:

  1. Freedom to use the work itself.
  2. Freedom to use the information in the work for any purpose.
  3. Freedom to share copies of the work for any purpose.
  4. Freedom to make and share remixes and other derivatives for any purpose.

The important point here is that any Free Culture license allows commercial use of a work, and derivative works.

If you write a book and it has somebody else’s lyrics in it, you have created a derivative work. If you then sell that book, you are making a commercial use of that derivative work.

With a Free Culture license, you already have permission to do both of these things, without penalty or even notifying the creator, so long as you abide the terms of the license.

The Creative Commons licensing structure has two licenses that fall under Free Culture.

The Creative Commons Attribution (CC BY) license is just that — you can do pretty much anything you want with the licensed work, so long as you give proper attribution (generally with a link to the original source), indicate whether changes have been made, and make clear that your use is not condoned or supported by the original creator.

The Creative Commons Attribution–Share-Alike (CC BY-SA) license requires the same things as the Attribution license, as well as requiring you to release your derivative work under an identical or compatible license.

Note that this does not mean you need to give your work away for free. It does mean, however, that you need to stop worrying about “piracy”, because you are giving permission to copy and share by using the license.

(And, really: relax. It’s not piracy, it’s free advertising. How many of your favorite authors did you discover by buying a book blindly? If someone reads your book, loves it, and makes a copy to encourage his friend to read it, that friend might become your new biggest fan. If he does, you’ll get plenty of purchases from him in the future, so why would you think about punishing him for that first read?)

At the moment, apart from earlier iterations of the same license, there is one non-Creative Commons license that is compatible with CC BY-SA — the Free Art License (FAL), also known as the License Art Libre (LAL).

If you read that license closely, you will find that it is, in every essential, the same as CC BY-SA. So if you find a song under an FAL license, you can put your book out with a CC BY-SA, and you’re covered.

(There is also the Creative Commons license to dedicate works to the public domain, the CC0 license, but to date, very few songs have been released under it.)

Yeah, yeah, yeah, but how do I find a Free Culture song to quote?

It’s cause I like to fight about it so I,
Bite down taste blood then spit it out.
I learn quick, I make connections,
I don’t dream just pay attention.

— Lily Wolf, “Play The Game“, CC BY-SA 3.0

There are places to look, and ways to search, that can help you zero in on something appropriate. But you’ll be ahead of the game if you commit to listening to a lot of CC-licensed music to begin with.

It’s not difficult, and for the most part costs you only time and hard drive space. The only thing is you have to be willing to wade into unexplored waters and judge for yourself what’s good and what’s not. For some people that might be difficult, or at least it might take you a while to get your bearings.

But it’s worth it. Making CC-licensed music a regular part of your listening means when you think “man, this tune would be perfect for this video I shot”, there’s a good chance you’ll be able to use that tune with a clear conscience and no worries about RIAA lawsuits or DMCA takedown notices.

If you’re looking for a lyric Right Now, the first thing you want to do is go on a general CC search. Creative Commons has a CC Search tool (which is apparently being replaced, but hasn’t been yet).

jamendo_logoTo start listening to CC music generally, the place to start is Jamendo. It is, I believe, the oldest CC-music site, and has thousands and thousands of works, all under one CC license or another. Jamendo has some drawbacks. Older works disappear with disturbing frequency, and even finding a pointer to where they once were is difficult. So, for instance, I have a number of albums I downloaded from Jamendo and, due to moves from one computer to another, and other exigencies, the licensing info got lost, and I can no longer look up what license they had because they’re not even listed on Jamendo anymore. Jamendo also used to have a thriving community and lots of artist-fan interaction, which is now gone. And those “improvements” suggest that the owners of the site are perfectly willing to cripple it further without notice or regard for what you or I think. That said, it really is the best place to dive in to CC music.

WFMU-free-music-archive-logoAnother long-time CC music archive is the Free Music Archive, which hosts lots of CC-licensed music (lots of overlap with Jamendo), along with other music that’s free to download but not so clearly licensed (and some public domain music as well).

bandcamp_130x27_whiteBandCamp is a wonderful music outlet, and many artists on it use CC licenses, but there are two drawbacks — you cannot search by license, and when you download, at least the last time I did, licensing data is not included, not even in the music files’ metadata.

ia_purpleThe Internet Archive also houses a lot of CC audio, but it’s difficult to search by license, to find the sort of CC music you’re looking for, and to be sure that it’s legitimately under that license. I recommend going here only after you’ve got a lot of experience with searching out bands and songs, and having a good feel for what’s likely legitimate, and what’s probably somebody stealing music and passing it off as his own. (It’s pathetic, but yes, people actually do this.)

93px-SoundCloud_logo.svgThere are a number of Creative Commons artists on SoundCloud, but I’ve found searching there to be substandard, even while the formats available tend to be superior.

magnatune3-logo-smallMagnaTune is a pay service, so you know that artists are getting some financial support, and often they use CC licenses.

cc-mixter-logo-blackCCMixter is a service I’ve almost never used, but it definitely makes music available under CC licenses, so it’s worth checking out.

Too Long; Didn’t Read

No one likes the freak, no one likes the odd man out.
I’d rather live my life alone,
Than live a life of doubt.
I won’t let you force yourself on me,
I refuse to be a victim to your society.

— Sunspot, “Intellectual Terrorists” (CC BY-SA 3.0)

If you’re a writer, especially an indie writer, you don’t want to quote lyrics from mainstream songs in your book, or you invite lengthy litigation courtesy of the recording industry and their flesh-eating lawyers.

If you absolutely must include lyrics in your book, and wish to avoid legal bills, you can either invent them, or use lyrics from songs with Free Culture licenses (and abide by the terms of those licenses).

Unless you are under a severe time crunch, the very best way to find that one perfect lyric is to start exploring Free Culture music yourself, at any or all of the sites linked above.


As an addendum, I can add another way to explore Free Culture music. Last year, I did a first installment of a podcast meant to expose people to cool CC-licensed music.

The Creative Uncommons‘s first episode only got a few dozen listens and virtually no reaction, however; so, for that and other reasons, I let the project languish.

I have playlists for two more hour-long installments ready to go, and can easily put together many more, almost without thinking about it. And each of the playlists to date is entirely Free Culture.

If enough potential listeners are interested, I’m willing to take it up again, but, given my extremely limited financial means, I do need to make it pay. If you’re willing to support such a podcast, and/or know others who would be, leave a note in the comments or hit the contact form to send me a private email. If enough people seem interested, I’ll sit down, figure out what I’ll need to get back up and running, and put together a crowdfunding campaign. (Given my personal quirks, I may be foolish enough to do it with Bitcoin through the Lighthouse de-centralized crowdfunding platform, but we’ll see.)

#Writing #Music Monday: On A Beam Of Light by Stellardrone

20 Jul

On A Beam Of Light coverI’ve shared two Stellardrone albums previously, but I have to confess: there are days, sometimes weeks, when I simply queue up a playlist of every single thing he’s released, put it on repeat, and let that be my writing/working soundtrack for the day.

So today, we go back to his first album, On A Beam Of Light.

In one of the two posts where I’ve dealt with Stellardrone before, I suggested that his earlier work was less melodic and more drone-y than his most recent two albums.

That was unfair. His more recent work is sharper, and manages more complicated build-ups both in individual tracks and album wide, but he was, as this album amply shows, melodic from the get-go.

The Vangelis influence is just as obvious as in any one of his other works, and again that is no bad thing.

This is music of wonder and exploration, that will put anyone my age in mind of Carl Sagan’s Cosmos series. (We will not talk of the travesty of whatshisface’s “update” series of the same name, nor of the horrific musical choices it made.) It is perfect for firing the imagination and exploring unknown worlds.

You can download On A Beam Of Light by Stellardrone free from Jamendo, or free from the Internet Archive, or you can name your own price (including free) and get it through BandCamp while sending money Stellardrone’s way.


Creative Commons License
On A Beam Of Light by Stellardrone is licensed under a Creative Commons Attribution 3.0 Unported License.

Yes, different licenses are listed on the Archive and Jamendo. But this comes from Stellardrone’s own website:

Once Stellardrone publishes his tracks on the Internet he waives all the rights to them and only kindly asks for attribution. Any person or organization is free to use any track of his on any kind of project (commercial, independent etc.), including selling, remixing and distribution of music.

stellardrone/use of music

Group nouns

16 Jul

In a private forum, some friends and I were being silly, which led to this.

Everybody knows that a group of lions is a pride, and a group of crows is a murder. In the same vein, I once heard a group of girls, especially teenage girls, should be called “a giggle of girls”. Hard to argue that one.

But we came up with some political ones.

  • A deception of leftists. (I can’t bring myself to call people who want to tell me what to say and think and how I can and cannot make use of my own property “liberals”.)
  • A snit of social conservatives.
  • A posture of libertarians.

I’m kinda proud to have come up with the libertarian one, considering I basically am one. If you can’t laugh at yourself, you have problems.

Also, I can’t decide between two for “progressives”. The obvious one is “a rage”, but I’m more inclined to “a fleck”, implying both insignificance and “foaming at the mouth”.

Additional suggestions are, of course, welcome in the comments.

The Good Old Stuff, Jack Webb, and oh, by the way, A Review

15 Jul

I meant to write a review of David Burkhead’s short story “EMT“. But, well, it takes me a bit to actually get to the story.

Jack Webb, unappreciated auteur.

Jack Webb, unappreciated auteur.

Jack Webb is overdue for rediscovery and re-evaluation as an artist.

I’m not being ironic or sarcastic.

The time might be right. A young man I know, when we watched Sunset Blvd. together, was completely clueless when I cheered on seeing Webb’s name in the credits (I had completely forgotten he was in it in the 20-ish years since my last viewing). I said “Dragnet”, and he still hadn’t a notion. And this is a smart, media-savvy guy who likes going down cultural rabbit-holes in his research.

He grew up in the aughts. I grew up in the ’80s. I grew up on reruns of Dragnet and Adam-12 (without, at the time, knowing about Webb’s involvement in the latter). As a wee little brat, Emergency was one of my favorite shows.

But I also grew up knowing that Webb was a cultural punchline. Endlessly parodied in cartoons and comedy recordings.

The thing is, while it is indeed easy to parody Webb’s style, in my re-encounters with his work and career in recent years, I have been astonished at just how accomplished he was.

The joke in Hollywood is that any given “overnight success” story took about ten years to happen. Webb’s path to being a household name was quite a bit shorter, though still not overnight.

He began as an actor on the radio in San Francisco, starring in the detective series Pat Novak, for Hire in 1946.

That show went so well that he moved back to Hollywood and made a very similar one, Johnny Madero, in ’47, then Jeff Regan Private Investigator in ’48.

As he went from show to show, Webb took on more and more responsibilities, not only starring but writing and producing them. As a sideline, he got featured roles in films like He Walked By Night (1948) and Sunset Blvd. (1950), among others.

It was He Walked By Night that led to Webb striking gold. On that film, he played a police technician, and made friends with one of the LAPD advisors on the film. From that contact and friendship, Webb created the show he is known for to this day, Dragnet, which launched on the radio in 1949. Webb created the show, wrote many of the scripts in consultation with the police, and of course starred as Joe Friday. It was a nationwide hit.

Such a hit that he took it to TV in 1951. From 1951, Webb was starring in, producing, often writing, and not infrequently directing Dragnet for both radio and television, a new episode every week in each medium, until 1957, when the radio show ended. (The TV show continued through 1959, then returned from 1967 through 1970.)

Not content to have two shows running simultaneously, in this same time frame Webb wrote for other TV series, created, wrote, and starred in other radio programs (my favorite, and possibly his, was the non-hit Pete Kelly’s Blues). Then, apparently just for the fun of it, he went into movies. Not merely acting, no, he wrote, directed, produced, and starred in nearly one movie a year from 1954 into the early 1960s.

In his spare time he also wrote popular nonfiction books. I am so not kidding.

Yep, I’m a Jack Webb nerd. Guilty as charged. But why am I going on and on about him?

Webb was, himself, a nerd. (I’m not even talking about how I am absolutely sure that Paul Reubens took Pee Wee Herman’s sense of style and physical movements and mannerisms from Webb’s performance in the Pete Kelly’s Blues movie.)

Once he had his hit with Dragnet, his interests and fascinations came into focus and appear in virtually every project in which he was involved thereafter.

If you don’t like Jack Webb, it is easy to dismiss him as a mere propagandist for The Establishment. That dismissal is basically what happened to him, culturally, starting in the late 1960s.

I won’t argue that he wasn’t a propagandist for The Establishment; he was, at least in part. But that’s not what his interest was, it’s a byproduct of his actual concerns.

Jack Webb was fascinated, deeply, deeply fascinated, by what you might call social infrastructure. If you look at everything he had a creative hand in, from 1950 onward, everything he produced was, in one way or another, about how human beings work together, in capacities official and unofficial. How things work smoothly, and why they sometimes don’t. And most of all, taking things that don’t work smoothly, and fixing (or at least addressing) that.

Dragnet? Police detectives and the crimes they worked. Also, believe it or not, it was probably the first TV show to present cops realistically both on and off-duty, even if it strongly emphasized the “on”. It showed Joe Friday and his partners having love lives, his partners being in mortal peril, and bringing issues to 1950s American television that you really wouldn’t expect. There’s an episode of Dragnet about finding a child molester(!).

Pete Kelly’s Blues, in its every incarnation (not just radio, but an excellent 1955 film, and a 1959 TV series — told you it looked like his favorite) explored how society dealt with prohibition, racism, and more in the 1920s.

The D.I. showed basic training for Marines.

-30- looked at the inner workings of the newspaper business and its effect on society.

The Last Time I Saw Archie is an attempt at a light-hearted military homefront comedy, but its central figure (Robert Mitchum) is an army man who can talk his way into or out of almost anything, becoming a human monkey wrench to a not-so-smoothly-running military machine, and never once giving a damn that he fouls things up for most everybody else. (I’m sorry to say that it’s not a very good film, especially given that it’s based on the very real exploits of one Arch Hall, Sr., but I’ll go into him some other time.)

Adam-12 was another look into police work, this time from the uniformed patrol cop’s perspective.

I’ve only just discovered that he created a show in the early ’70s called O’Hara, US Treasury, but just try telling me that title doesn’t fit in with my thesis.

And Emergency! dealt with paramedics and the situations they had to deal with, under intense pressure.

(Another show I just learned about, Sam, dealt with a police-K9 partnership.)

Every single one of these creations is primarily concerned with how the world presented operates, and how it copes when things don’t operate correctly.

Leaving aside questions of the quality of Webb’s work, his interest in How Things Work is old-fashioned.

The fact that it is old-fashioned is not a bad thing.

How Things Work is important. Culturally, we seem to have gotten stuck on stories about How Things Don’t Work and stories about How To Make People Pay. But stories about the healthy functioning of society? Nobody seems interested in presenting that anymore, and hasn’t in a long time. Mocking people who find that interesting has been the default mode of the overculture since the ’80s at least. Witness the awful 1987 film of Dragnet, starring Dan Aykroyd and Tom Hanks.

Shorter review: Buy it and read.

Shorter review: Buy it and read.

Well, I have read EMT by David Burkhead, and I’m telling you that his interests, at least based on this story, are very much in line with Jack Webb’s. He’s interested in How Things (Will) Work, and How To Fix Them When Something (Or Someone) Goes Very Wrong.

Furthermore, he expresses that interest in terms of an engaging, dramatic story that pointedly sidesteps the pitfalls of focusing too much on the “mystery” or the villain.

EMT takes place (almost entirely) on the Moon. We follow two characters who you might expect to be very different, but ultimately have the most important things in common.

Schneider is the CEO of a large corporation, who has come to the moon to track down the source of certain discrepancies between what his outfit has been reporting, and what the raw numbers are telling him. There is an accounting shell game going on, and he’s going to do more than stop it.

Kristine is an EMT on the moon, and coping with Things Gone Wrong is her entire job. Which is being made harder and harder by budget and staff cuts, meaning cheaper equipment, longer hours, fewer EMTs on duty, and just about everything else you don’t want for your emergency first responders.

If Burkhead had wanted to spin this out to novel length, he could have dug into the details of the “mystery”, added in more viewpoint characters, and made it all work.

But he’s not interested in the mystery or the villain. He’s interested in Process, in how things work, and how to get them working again after things have gone pear-shaped. There is little mystery in the cause of the problems, and even the details of how Schneider nails down the whole thing are basically in the background. What is important is that Schneider takes a look at the whole operation. He doesn’t just assume “it should work”, as many non-technical people assume these days. He cares about how.

And the story follows that theme.

It’s entirely entertaining, but you need to check some assumptions at the door. Don’t look for a mystery, or an obsession with villainy or human weakness. Don’t look for a shiny new, easy-to-render-with-CGI tech idea that you’ve never seen before.

What you will find, instead of those things, is a thoughtful look at how things can be made to work in a not-too-distant future on a private Moon colony.

I liked that. I liked it a lot. I was sorry there wasn’t more, but what is there is entirely entertaining and worthwhile.

I should blog more

14 Jul

"Alone" by geralt, CC0.

Alone” by geralt, CC0.

I should, but I don’t.

This post will attempt to explain why but, as you will see, even saying this much will be quite difficult.

I was raised in an emotionally abusive environment, though I didn’t know it at the time. My teenage years were one long project of gaslighting me by one of my parents, and I only figured it out just before I moved out of the house.

What I did know was that I was an introvert, and that having deep feelings, and considering them valuable, was a Very Bad Thing for which I would be punished, usually by public humiliation, and then years-long repetition of those humiliating moments anytime the least excuse presented itself.

In spite of my rather notorious romantic record after that, one of the things my various relationships helped me with was getting to a place where I could express myself, at least in certain ways, on certain topics, without feeling like I was going to be attacked at any moment for the slightest “wrong” word or opinion.

Then I got engaged to a full-blown sociopath. As that relationship inevitably went to hell, one thing that happened was that my every single utterance or typing, public or private, was used as “proof” that I was the worst human being in the universe. And it didn’t matter what I actually said, because she was perfectly fine with just making shit up, if she thought it would affect my life badly in any way. The attempt to make me appear to be a child rapist, through false-flag posts using accounts created to appear to be me, was only the most ridiculously delusional of these attempts.

Ever since then, and it has been many years now, making any public attempt at communication, whether it be blog posts, or attempts to market my writing, has been pure hell for me, internally, because I know, I know for an emotional certainty, that I must be attacked with it.

If I listen to some music, I’m a bad human being for listening to it instead of X.

If I read a book, I’m a terrible person for reading instead of Y.

If I make a blog post, I’m awful, because obviously.

And the thing is, I know, intellectually, that this is just the result of being abused. I know it, I see it, I hate the monsters who did this to me, but it still affects me. I had conquered it almost completely, but now, I’m afraid, I’m going to have to live with it the rest of my life. I go through times where I can ignore the nagging voices in the back of my head, but then I go through times where they have free run and do as much damage as they possibly can.

I try to plan around those times, to set up posts a month or two in advance, so I can let the posting schedule slide without there being any public evidence of the turmoil in my head. But, as you can see from all the gaps in the blog’s timeline, that hasn’t been as effective as one would hope.

So that’s it. I’m damaged, and I’m trying to work around it, but that’s how things are.

#Writing #Music Monday: Ambient Symphony by zero-project

13 Jul

[cover] zero-project - Ambient symphonyI am shocked and dismayed to discover that, apparently, I have never put stalwart Free Culture composer zero-project up in a Writing Music Monday post.

Allow me to rectify that grievous oversight.

Zero-project is a Greek composer and musician, and he (or she) has been putting out Attribution-licensed works for better than half a decade. He leans toward New Age music, but its complexity and depth makes up for the cheese factor, far more often than not.

Ambient Symphony is a very new-age-y piece, and yet I like it. (If you know me, you know that I pronounce “new age” to rhyme with “sewage” almost always.)

It’s melodic, not super-repetitive, and all nine tracks work together to create a coherent whole.

But be warned: the irritating tropes of New Age-y-ness are here. The echo effects, the nature sounds, the cheesy-synth, the whole bit. So if that automatically puts you off, now you know. If you think you can let the quality of this work get past your defenses on those fronts, however, give it a try. Because it is worth it.

Download Ambient Symphony free from Jamendo, or directly from Zero-project’s own site.


Creative Commons License
Ambient Symphony by zero-project is licensed under a Creative Commons Attribution 3.0 Unported License.

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