Yeah, I posted a lot of shit yesterday. 

Maybe I'm clinically insane for being so productive. I don't know, but you can't complain that I don't post anything.

Posted a shit ton of stuff recently just so I'll have an excuse to not post shit for days lmao.

jk... tthe people on this site who have known me for a while know that I'm not going to hold back and I'm going to post a load of weird junk at any moment.

lmao

that's exactly what you just read, mate. I posted 3 audios. Go check em out.

My goal on this site is to become your favourite artist's favourite artist.

May my weird and experimental work inspire people to create more and more non-standard things, even if that in itself is a standardising act, lmao. 

Hi, I'm Meuny, and I'm finally available for services.

Anyway, after so long on this site, I've decided it's high time I started working on serious projects.

If you need my services, I've already set up commissions and there's a detailed list of how you can contact me. I'm a musician, sound designer, etc. Whatever you need, I can do it for you.

The use of the minor scale in music should almost always be accompanied by the chromatic scale since this allows me to switch between different modes, for example: In the E minor scale it is possible to use a variation that makes use of an "in-between" of the scale with the major 7th and the scale with the minor 7th, this mixture of sevenths allows me, when it suits the music, to change its pitch to B major or minor, to D (with a major seventh), etc.

The movement of notes is a chromatic descent from the note that sets the tone to the diminished 6th. As an example, let's take the E minor scale, the movement of notes takes place through E minor, B/D#, D major and, finally, C sharp diminished. This movement allows for the use of different conclusions, but mainly, to my taste, the following resolutions are the ones I use the most: Resolution in B minor, D with a major seventh and, again, E minor (which is usually continued with the same movement of chords, as if it were a "chorus").

Ps: This a rough translation of one note i wrote in a diary about chord progressions i use. I thought that it'd be neat if I shared it with more plp

I made an album with a good friend of mine. Go and have a look:

It is with the greatest of pleasures that I celebrate this milestone of having 50 followers. Soon I'll reach 100, hehe.

It's simply incredible to visit this site and chat to the fellow artists who interact with me here.

I love being here and I want to stay here. 

Thanks, everyone, for supporting me and my work. I promise y'all will see more from me coming soon.

Oh, and by the way, if you wanna know me, I've made a song that sorta sums up how I feel about myself and my work.

here it is by the way:

Anyways, this has been Meuny. I love you all.

They want me blue, but I'm actually lilac.

Or green, pink, grey - it doesn't matter to me.

I'm not a rainbow because that's too much colour for me.

I'm not a non-colour because I want to be more.

I dress in a mannequin uniform.

For every illusion, I have sesame left over.

Real sesame: bitter, bad taste.

May my tongue pity me.

My throat scratches with words that aren't mine.

A straitjacket soiled with various colours.

An invisible contract with many lines between it.

What they demand of me is nothing but pretence. 

.

Initially, when we look at music and all the debate that is created around it, we can see the ambiguity of the signs and meanings assumed and considered by different people who set out to build a critique of music. Talking about music and its qualities and ambiguities is like advocating a victimless crime case. Different outcomes, conclusions and theses are possible depending on each person's personal opinion. However, this is what it appears to be on the surface.

The debate about music must go far beyond a discussion about a quality that apparently "hangs over society". There is no way to reach a conclusion that doesn't make the mistake of "eternalising what has a beginning, middle and end". Observing music with assumptions that mystify the historical character of music reduces the debate to its aesthetic surface. Different melodies, performances, techniques, etc. lose their historical character and are transmuted into eternal things, as if they were an intrinsic part of an immutable human nature.

What history shows us is that music is, because it is a social category par excellence, a historical category whose form is always developing as the production chains and organisational form of human society develop. History shows us that art - especially music - has undergone transmutations from the passage from the ape to primitive man right up to the present day. And even within contemporary society, art and music continue to undergo transmutations as society itself develops. The various industrial revolutions during society's capitalist period exemplify how the development of production chains directly and indirectly interferes with the way we produce art. Whether it's through the development of our ideologies that change the way we organise ourselves around work and life, or the synthesis of new technologies that allow for the creation of new tools that encompass new creative possibilities. In any case, art never remains stagnant.

This perspective that "eternalises" the social category of art consequently reduces it to an object of conformation. It turns the dialectic that art represents as an object for resolving real contradictions into an empty form that only mimics what it is concerned with. This type of "eternalised" art becomes an "anti-art", an "anti-being", and the remnant of "life" that remains in its carcass is aesthetics - the affirmative character of art has become omnipresent and the playful form of a piece of the human spirit that once represented it has been reduced to a provocative and ironic grimace. What once rejoiced in modifying existing consciousness seems to exist only to reiterate it. No art form escapes this reduction, even if these different art forms go through different production processes. In the end, this "mystification" of art reduces the provocative tone of art into an encouragement of the status quo - even if the work and its author have critical intentions, this mystification betrays the content, leaving only the necessary poetic subjectivity that satisfies the individual will.

We shouldn't mystify art.