Byron Lacy | Learning to Live with Rockets

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United States - Texas

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Electronic: Dance Avant Garde: Mixed Media Moods: Mood: Dreamy
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Learning to Live with Rockets

by Byron Lacy

These songs are a hybrid of Trap, Dubstep, Noise, Rock, EDM, Trance, Art Music, and Classical; all combined into something new and original. For those looking for something familiar and different, both at the same time.
Genre: Electronic: Dance
Release Date: 

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  Song Share Time Download
1. Lyran Starseed
5:39 $0.99
2. Of Distand Stars and Planets
7:08 $0.99
3. Hyperloop to Ganymede
4:06 $0.99
4. Love on Luna
5:42 $0.99
5. Arcturians Arrival
5:25 $0.99
6. Learning to Live with Rockets
4:44 $0.99
7. UFO in the USA
9:36 $0.99
8. Visitors from Zeta Reticuli
9:56 $0.99
9. Mars Cafe
6:30 $0.99
10. No Place to Hide
5:54 $0.99
11. Abraxas
5:46 $0.99
12. Bedlum
4:59 $0.99
Downloads are available as MP3-320 files.


Album Notes
I am 66 years old, and I work in the fields of art, music, and writing. I have had exhibitions of my art in galleries and museums throughout the United States. I have three books now on Amazon and B&N as well as a few independent book stores. My nonfiction book, Chosen: Chronicles of an Alien Abductee covers my experiences of over fifty years in being visited and experimented on, by alien beings. One of the sources of inspiration for my music has been alien music which I heard during meditation.

I am a fourth generation Texan, and a fourth generation abductee. My Great Grandfather, George W. Lacy, came to Texas from Ireland in the 1850’s. He and his two business partners donated the granite to build the state capitol in Austin Texas. He and his brothers started a dog breed, the Bluer Lacy, which is now the state dog of Texas.

I was in a band in high school, and after we worked for over a year and learned over a hundred songs, played our first gig, and then broke up over power issues in the band. I was in another band in 1981 and the same thing happened. But in 1981 I bought my first synthesizer, actually it was for my wife at that time, but I would jam on it, just playing notes and pretend chords, but with feeling. I didn’t know how to play keyboard. The other band members were surprised that they really liked what I did. They said it had the look and feel of a song, sounded like a song, but at the same time, it was just sounds made with purpose.

2. Loving music, synthesizers, and just the sheer act of creating; these are the things which inspire me. I never really know what is going to happen until I start the process of recording. I do not come up with an idea before I start, and usually the title of the song comes to me while I am editing the song. This song started out as “UFO in the shadow of the sun” but as I worked on the song it ended up as “Visitors from Zeta Reticuli”.

3. The writing and recording process.
I have no preconceived notions when I go into my studio. I always start out with the drum track, that way everything I play will be at the same speed and rhythm. The first drum track may be discarded, or altered, as the song evolves, and most of my drum tracks have been drastically changed as the song is nearing completion. The song sort of grows as time goes on. It takes me 40 to 46 hours to complete the song, and usually by this point I have listened to it over a hundred times. After I complete the drum track I pick which synthesizer I will use, and the first voice I will use. I go through a lot of voices until one just grabs me, and that’s the one I start with.

Then I start playing, and recording, just letting my fingers move over the keys where they feel like going, until some small phrase catches my attention, and then I focus in and start working on it until I have developed the melody line. I can feel where a set of notes are often headed, and at some point I will take them in a different direction. I think most of us can finish a musical phrase in our heads when listening to a song, and we know where it is headed. I try and take it in a different direction to surprise the listener.

I am all about building up tension in the listener, and then relieving it. I will repeat a phrase, or even as single note, to the limit of tolerance, and then before the listener gets board or tired of the sound I will throw in something different, even if it is just a noise, and it suddenly becomes fresh again. I am not above replacing part of a phrase with an abstract sound that does what notes would do, like carry the phrase downward to a lower note.



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