Somewhere Between Awake and Asleep

Volumes In Solitude

AI Process/Open Source Software: HUMAN, Google Flow Music, Claude.ai, ChatGPT, Meta.ai, Perchance.org – DAW: Audacity 4 (alpha), OS: Linux (Ubuntu 26.04)

Somewhere Between Awake and Asleep: Volumes In Solitude – Full Mix (49 Tracks: 2:15:31)

Stream/Download Free MP3 Mix (320 kbps – 310.2 MB)

Google Deep Dive Podcast: Producing Human Imperfection

The Text to Music Prompt

GENRE & FOUNDATION

Lo-fi hip-hop, classic chillhop. Warm, intimate, and unhurried. Dusty jazz samples filtered through tape saturation and vinyl crackle. The sonic equivalent of a lamp-lit room at midnight — quiet, still, and alive with small sounds.

TEMPO & RHYTHM

68–82 BPM. Swing the hi-hats 20–30%. Programmed drum kit layered beneath a pitched-down vinyl break. Soft, muffled kick. Snares with slight downward pitch. The groove breathes — nothing is perfectly quantized. It leans back.

HARMONY & MELODY

Jazz voicings built on major 7ths, minor 9ths, and suspended chords. Bossa nova-influenced syncopation in the melody line — a muted, plucked Rhodes or nylon-string guitar motif that hints at Brazilian warmth without declaring it. On select passages, let the harmony sit on a single Dorian or Mixolydian mode for 8+ bars with no resolution — hypnotic, open, like Miles Davis’s Kind of Blue run through a dusty filter.

INSTRUMENTATION

Primary: Rhodes or Wurlitzer electric piano with heavy tape saturation and light flutter. Fingered upright or electric bass, low in the mix, loosely following the kick. Secondary: occasional gospel organ swell fading beneath the chords — faint, devotional, barely audible. Vocal chops from a soul or R&B source (think early Marvin Gaye) pitched and chopped into a melodic motif. On one track only: FM synth bass and chorus-drenched electric piano drawing from 1980s Japanese city pop — Tatsuro Yamashita, Mariya Takeuchi — lush, processed, and nostalgic.

TEXTURE & SPACE

Vinyl crackle sitting at –20 dB throughout — present but never intrusive. Soft rain or room ambience beneath the mix. Tape hiss as character, not noise. Long reverb tails on individual Rhodes notes during intros and bridges, drawing from ambient and impressionist space — Eno, Satie — where a single decaying note feels like a vast quiet room. The ‘dirt’ is the warmth. Do not clean it up.

STRUCTURE & DYNAMICS

Track length: 2:00–3:30. Loops should feel effortless — the repeat point invisible. Intros open with near-silence, a single textural element, or an ambient pad swell. Outros fade gently rather than cut. Internal dynamics shift in layers, not with drops. No builds toward climax — the energy sustains, floats, and recedes like a tide.

MOOD & IMAGERY

Late night. A lamp going dim. Coffee gone cold. Rain on glass. The smell of old books. A city seen from a window, not walked through. Solitude that feels chosen, not lonely. The album is called Late Night Study Sessions — each track is a chapter in a single quiet evening that never quite ends.