All songs performed in C=1Hz Scientific Pitch (A432Hz,) Pythagorean Fifths Temperament, and Maria Renold's Scale of 12 Fifths Temperament. Most songs include "IsoSynths" - pulsed isochronic brainwave entrainment frequencies, no headphones required. All music is brainwave entrainment, however not all brainwave entrainment music is composed or compiled correctly, and modern pop music is most surely not. My IsoSynths are synched to the tempo, and the specific pulsed low frequency and tempo is dictated by the key of the song, utilizing the formula Hz=BPM/60. This ensures few to none of what I call "ghost intervals," which are products of most modern pop music, unfavorable dissonances not only in the Equal Tempered chords, but also in the pulsed rhythms of the tempos. These unintentional intervals may diminish or negate the desired effect, and more often than not create negative effects. Composing music with care and purpose, utilizing harmonious and pure temperaments and Scientific Pitch, and synching tempos to the pulsed frequencies and their corresponding notes ensures the highest levels of tone and harmony, with only positive benefits to mind, body, and spirit.

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Some younger listeners may find this music too "old-sounding," and some older listerns may find it "too modern." I have written my own music, and "covered" others, my entire life, and I have always had a unique style that not everyone "gets." When playing others music, I never attempt to mimic or emmulate the original; what would be the point? There is nothing worse than hearing a "bad cover," that only makes you long for the original.

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When I play other people's music, I do so because I am so moved by it that I wish I wrote it, and/or because it is a challenge. Either way, it will eventually inspire me to write in new and different ways to me, corresponding to my own drastic shifts and  advancements in this life path and developments as a musician and a human.

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I can only hope you enjoy listening to it as much as I enjoyed creating it.

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In Love, Life, and Light,

Dameon Keller, 2/2018