Around With Grace

Описание: Around With Grace & John

Grace counts the lampposts as though the city’s spine might save her.John kicks a stone down the pavement claiming it’s a planet ripe for colonising;.
He’s already winded by the attempt.
Original Instrumental Collection: Multi-Genre Soundscapes
Instrumental Explorations • Original Music Across Genres
Variety Instrumentals: Creative Originals & Mood Pieces
Description
An evolving collection of original instrumental tracks spanning multiple genres; ambient, electronic, acoustic, cinematic, rhythmic, and experimental. Perfect for listeners who enjoy discovering new sound worlds without vocals. Ideal for focus, creativity, or simply exploring a wide palette of musical styles. Updated by Steve Catlin & Andrew Mark DUXBURY

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They wander with looping conversation, keeping pace;Loyal but increasingly nervous pets.
Rain threatens, but only the polite kind that seeks permission.
Grace speculates on hope, John speculates on lunch.Both know that the world is teetering,Neither is ready to file any paperwork necessary.
Unhurried, under-qualified, fighting the apocalypseWith nothing but a shared umbrellaAnd stubbornness in friendship.
The Funxster Foundation is exponent of the Stream Of Consciousness Genre. Performances are made and recorded in a single ‘take’ from Graphic Score composed by Steve Catlin. Consonance is welcomed, dissonance tolerated.
Within this framework, the act of performance becomes both utterance and archive, a momentary cognition fixed without recourse to correction or polish. The single take is not an aesthetic constraint so much as an ethical position: an insistence that intention, error, intuition, and excess coexist in real time. Graphic scores function less as prescriptions than as provocations; fields of possibility that invite the performer to negotiate form through attention rather than obedience.
In the present Funxster Foundation canon, this negotiation is foregrounded as a communal practice. Individual subjectivities surface, collide, and dissolve within a shared stream, producing music that is simultaneously private and collective. Consonance is welcomed as a natural by-product of alignment; dissonance is tolerated as evidence of agency. Neither is privileged. What matters is continuity of thought, the refusal to interrupt the flow in pursuit of refinement.
Listening, therefore, is repositioned as an active, critical act. The audience is not asked to consume a finished object, but to witness a process of becoming; sound as thinking aloud. In this sense, the Foundation’s output resists genre not by negation, but by saturation: it absorbs improvisation, composition, noise, and silence into a single discourse of presence.
What emerges is a canon defined not by repetition of material, but by consistency of intent. Each work stands as a document of consciousness under specific conditions, irreproducible yet resonant with its predecessors. The Stream of Consciousness genre, as articulated here, is less a style than a methodology; one that privileges immediacy over mastery, and meaning over resolution

.Around With Acoustic Grace [& John]: Acoustic Guitar via Boost, Chorus, Cutoff, Delay: digitised to String Ensemble with Stereo Pans. Classical guitar effected similarly; simultaneous Alesis P49 keyboard, sequenced through soundscape synthesiser; alternating with digitised Studio 1st violins.