Dear friends, followers, music lovers and random passers-by!

The Christmas approaches, the year is nearly over and it’s time to reflect on the events that made it. It’s been quiet on Transport Aerian’s side, but turbulent all around at the same time, so as much as I would like to say, that there is some work being made behind the curtains of this intimate and deeply personal musical journey, that wouldn’t be entirely justified, although, not entirely untrue either.

Making music, just like anything that comes out of creative mind processes does require time to be thought through and money to be put to life. Besides, it needs a certain clarity of ideas and – most importantly – a massive energy investment. I struggle with either. I have never really been a creative breed machine. Words, images and musical constructs have never been flowing effortlessly, rather, it’s always a long process of careful examination of what inspires the particular ideas, and the analysis of what has already been done – to avoid self-repentance. Unlike many of my artistic brothers, I never write anything starting from a melody or a separated part on an instrument, I start with the idea and the concept. And I never even consider starting until the bigger and complete concept emerges. That said, I’m not in the void with the ideas. I do have something in mind, something painful and personal enough to require me developing layers of nacre around it, so writing of the first sketches and lyrics is already in process for quite some time, and I have a few very solid pieces laying on my table awaiting for more infusion, alongside with possible album title – but given that I have a habit of changing everything around a couple of times before the final plan crystallizes it’s too early to make that all public, but one thing I can say for sure – it won’t be a light-headed, singer-songwriter style thing, likely, I’ll drown even deeper into the experimental side, while maintaining it comprehensible and melodically consistent – everything you know Transport Aerian for, yet something that you don’t quite expect from it!
The plans of releasing a 3-album box-set in the shape of the art-book to be set up alongside with some intimate-style live shows are not entirely dismissed either, although there is incredible amount of logistic and financial obstacles that need to be resolved before this could happen. The conclusion of it all, this has been a quiet year for Transport Aerian, it is very possible, that I won’t publish much new in the coming months either. By the other hand, the other side of me is undergoing quite turbulent and active phase. The avant-garde metal project I’m involved in, Fabulae Dramatis, is very active currently, as we’ve been extensively gigging throughout this year supporting our second album and whispers of working on the third one are getting louder and louder, but for that you’d have to visit their pages as I don’t intend to spoil anything here!
As for energy inputs, a lot of my firepower is now aimed towards my other front of operation: as some of you might know, my musicianship is but a part of my life. The second, and not anyhow less important being in academic and educational line of work that I mostly keep out of the musical circle, to prevent two quite opposite worlds collision. But unlike usually, now I feel compelled to be outspoken regarding this issue. It does take a lot of me, both creatively and physically at this moment. On that department, a lot of changes has happened in the course of last months as I was pushed to change the University, I’ve been working at for nearly a decade, and it takes incredible amount of effort to establish elsewhere, while still maintaining the quality of work and scientific (or cultural) creativity that I was used to. It takes time, money, ideas, but most importantly, it takes nearly all my energy, which significantly slows down other creative aspect of work, obviously including music.

That said, I’m still here, I’m as alive as ever. And I wish all of you – in the coming year – to stay safe and keep going for what you love the most. And Merry Christmas to you all!

Always yours,
Transport Aerian project.


Dear music lovers, followers and random passers-by,

Summertime often comes along with gathering the thoughts and emotions, accumulating the energy – and this is what I’m up to now. 2018 so was very productive when it comes both to side projects and contemplating the ways for Transport Aerian’s further actions, so I wanted to share with you both the retrospective of my other projects, in case you’d miss them and the perspective the way I see it now.
Transport Aerian is not (and has never been) the only project I’m involved in – musically and spiritually. Since the release of my second child’s Fabulae Dramatis second album, Solar Time’s Fables, I’ve been extensively gigging with them, in effort to put their avant-garde tinted progressive metal onto the bigger scale of visibility. Our collective effort seems to have worked, as the band played in many great venues around the country.

The second project I’ve joined recently is a metal band Bicephalous, in which I let my inner beast out both vocally and choreographically, and happen to write a lion share of lyrics, bringing my own personality into otherwise already ready-to-go setting. They’re curious fellows, promising musically, so I quite enjoy putting some of their works to the highlight and bringing the elements of my own spirit to what they work on. What you might also find a curious bit of information, is that we are working to arrange several less complex, pre-Bleeding songs that I wrote and released by Transport Aerian in 2008-2009. These songs seem to do well in context of Bicephalous metal insanity, as unexpected as it sounds. This ideas are yet to be tested on stage, but it already sounds rather promising on the rehearsals.

The downside of this upside was that I had few to no time to set up any live plans to support Therianthrope and I eventually called a day for such plans entirely, focusing on other ideas. Frankly, Transport Aerian, despite sporadic and sometimes reasonably noticeable shows, was designed mainly as a studio effort, and it often is impossible to bring it onto the stage due to logistic and technical limitations. However, busy times and hard times always create the ideas. A lot of local touring with other bands and in the other genre contexts have created connections to the people with similar – or at least – close musical minds.
There were a lot of lyrical concepts emerging during these months introspectively, but I have also met an incredible amount of talented and open-minded musicians, with some of whom I am currently discussing the plans of cooperation in terms of ideology, that is only known as of Transport Aerian’s. Hence, there is a big chance that the next album or even live incarnation of the band will have new faces and new names on it, hopefully, alongside with some of those who shared the studio space with me in past.
Never being a project to remain in the comfort zone of what has already been said, Transport Aerian is currently contemplating the ways of stepping into less explored (and may be slightly heavier) musical territories, and that – as with any evolution process – takes time and energy, which I drip by drip let sink into the fruitful soil of darker thoughts on personal and global occurrences of today’s world. The working title and some lyrical ideas are already written down and burning in my mind, but I won’t be sharing it just yet, because I often tend to change many things a couple of times in the working process: it happened with every album I’ve made so far.
That said, there will still be a considerable waiting time before I can drag myself and the others into a recording studio to shape the new album, so I’m working around for some compensations for those who are waiting for new music to be born. While we’re getting ready to announce the work in progress and throw in first bits and pieces of information, I’m happy to inform you, that Transport Aerian’s section on Melodic Revolution Records store is now fully updated with all three recent studio albums’ physical copies, including the very last remaining handmade limited editions of Therianthrope in its special package, the few remaining copies of Bleeding with Tanja Bogocharova’s prints and some Darkblue’s.

Last but not least, We’re considering to make a sort of legacy set of shows and release all the previously unreleased material, including music and artworks, but related to the different era’s in one box set, although this idea still remains on the stage of planning and negotiation.

And so you will have more from us in the coming months, but now it’s summertime, so let’s enjoy the living’s easy.


Dear friends, followers, music lovers and random passers by!

It’s been a while since I shared with you what was going on, and my disappearance – as it often turns to be – has few to do with me laying low, rather with way too many urgent matters at hand that has to be resolved or participated in. First off, things are fine, probably even more hectic than I could wish for. The main reason of silence from my side regarding Transport Aerian is that I’ve been called to the flanks of my little musical cause and was particularly busy working with my two other projects. One of them you, surely, already have a notion of: an avant-metal band Fabulae Dramatis, that has just released their second album and now working hard on promotion and playing live shows all over to bring the new programme to the thankful audience. With their avant-garde heavy music, well-thought stage appearance and a video footage synced with the performance, I feel home on stage, but it does take a lot of my time and energy, as since me, Isabel Restrepo and Daniel Diaz have formed the band back in 2012 it has indeed evolved into a very promising act that I consider well worth every invested hour.

The other thing I’m working on is a promising metal band from Antwerpen, to which I have been invited as a singer some weeks ago. They have not much to show in terms of recordings yet, but that’s a band on their beginning stage, and as the material looks promising, I have decided to step in and help them with lyrics, vocal lines and other important things that make raw band a complete product. While they’ve got not much not show yet, I’m pretty sure soon enough that will change and you’ll hear of them! While not being anyhow progressive, they do provide a strong and punchy sound which I think can be enriched with my signature singing.

Finally, there is one more project I will be working on in the next coming months, but I’m not allowed to talk about it just yet!

However, despite me being busy on all fronts, it doesn’t mean Transport Aerian becomes dormant. While I haven’t managed to set up a live line up sufficient to bring out Therianthrope in all its complexity live, so I ruled out this possibility, as if I can’t get the audience coming to the concert into my ideas at their fullness, I’d rather not do it at all, the studio album is doing pretty well, and I have just obtained the information that the limited edition copies at MRR store are in fact sold out, which made me consider providing them with a very small stock of some extra copies, which might become available again within two or three weeks, and for now my entire digital discography is set with a significant discount! I’m also working on the in-depths blog regarding every song and every artwork on the album, that is to be published in the course of this year.

That said, keep your eyes open and ears ready, there is more special things to come!
Kind regards,


Therianthrope is an album, whose themes are dedicated to the emotions of the mind, torn by different assets of mental illness in the context of quickly developing the world on the brink of the war, social and economic catastrophe. Besides the conventional music pieces, Therianthrope also features The Abstract Symphony, a set of songs and instrumental pieces based on a blind improvisation by the team of guest musicians. Nobody knew what the other musician would play, as they were only given a theme to describe and photographs to emphasize the visual in the sound. For the first time,
This album features numerous guest musicians, including Paul Sax (Curved Air, Praying for The Rain), Elvya (Ayreon, Elvya), Marco Ragni (solo), Peter Matuchniak (Gekko Project), JoJo Razor (Gekko Project), Dyian, Stef Flaming (Murky Red, Andy John Bradford’s Ocean 5), Darren Brush, Stefan Boeykens and Rachel Bauer.
The cover artwork and visuals included in the limited-edition issue are made by Jess Telmatt and Rachel Bauer from the sketches and concepts by Hamlet himself.

Catalog No. MRRCD 22147
Format. CD & Digital
Packaging. Limited Edition Die-Cut Package

Therianthrope Track Listing

1. Smirking Sirens
2. Pitchfork Martyrs
3. Let You Never Perish
4. Destroy Me
5. Abstract Symphony I Information Field
6. Abstract Symphony II Saturate
7. September
8. Abstract Symphony III: Lovemeat
9. Eternal Guilt
10. Abstract Symphony IV: Poor Things Need (A Common Interest)
11. Lions
12. Abstract Symphony V Immortals
13. Last Years Of Peace

Get your copy here!


Was preparing some pleasant pre-release routines today. Soon these beauties can be all yours!



Last Years Of Peace is one of the key new tracks off the upcoming Therianthrope album by Transport Aerian. It’s the first official music video and the last album track. Therianthrope deals with such subjects as (ir)rational fear of loss, vulnerability, and guilt.
Music & Lyrics: Hamlet Hamlet: vocals, keyboards, electric guitar, programming

Stefan Boeykens: acoustic guitar
Paul Sax (Curved Air, Praying For The Rain): violin
Elvya (Ayreon, Elvya): hammered dulcimer.

Video by Hamlet and Jess Telmatt.


We are very excited to share the news, that Therianthrope will be released world-wide via Melodic Revolution Records on 17th November, and will be available both physically on MRR-store and digitally on all the big platforms, such as Amazon, iTunes, Spotify and others. Moreover, and most importantly, the physical package this time is really – we mean – really special. To learn more about it, watch this teaser video, where I explain what we have prepared for you!


Theriantrhope is the new album by Transport Aerian releasing in September 2017. The abstract Symphony is a set of songs and instrumental pieces woven into the tapestry of the album and was composed by blind improvisation by a team of seasoned and creative musicians. None of the musicians involved in this project knew what the other would play, as they were only given the similar theme descriptions and photographs to emphasize the visual representation of the sounds.
This experimental approach is manifest modernity of the age of the information field, which contains similar artistic concepts and thus allows any music to be created out of an idea, without other forms of direct physical or intellectual interaction. This musical experiment was an essential part to the conception of the new album.

Abstract Symphony Experiment Participants:

Marco Ragni: Keyboards, Slide Guitar, Acoustic Guitar
Stefan Boeykens: Acoustic Guitars
Peter Matuchniak: Acoustic Guitars , Electric Guitars & Soundscapes
Darren Brush: Chapman Stick
Elvya: Hammered Dulcimer
Hamlet: Bass Guitar, Drums and Percussion’s

Transport Aerian has tapped into our current way of gathering, digesting and disseminating information through his experiment with the musician participants. Now comes the examination of the work, to create a vision means that you wish to share it, so as part of sharing of this work

The Topic Themes:

Modern Information Space – Abstract Symphony I: Information Space
Strongest Emotion – Abstract Symphony II: Saturate
Whore – Abstract Symphony III: Lovemeat
Pop music – Abstract Symphony IV: poor things need (a common interest)
God – Abstract Symphony V: Immortals

Watch teaser here:


Dear friends, followers, music lovers and random passers by!

Today I’ve taken the very last step towards finishing the mastering of Therianthrope. This was a process that took me slightly longer and got me slightly sweatier than usual! Months of work and about five different attempts to finish it until the day of today were practically in vain, as I was not getting any closer to the point of having the shiver of accomplishment which would signify that it is assembled exactly the way I wanted.
I must mention – I am not of those kind of sound designers, who can not quite decide what to do in which situation. For the good and for the bad, I tend to take quick decisions in pretty much all aspects of my work, especially when it comes down to the sound production. It wasn’t the case this time. But today I am pleased to inform you all, that after some weeks of break from this painful birth process I finally realized what was really needed for this album to sound the right – or in this case – so-wrong-it-is-right way. So I put that one missing piece in place, totally changed every single bit of what I initially had for mastering and the resulting prodcut sounds drastically different but finally satisfying.
The bliss and the struggle of Therianthrope was that unlike most of other studio efforts I had been involved in, it has a significant share of acoustic instruments and an incredibily wide dynamic range – both things that I scarcely work with in context of my own music. It wasn’t possible to spare the atmosphere and the spirit of the album with any radical mastering tools or techniques applied. So in the final version, I got to perform a with very gentle mastering, barely touching the initial mixes at all, correcting most of the peaks manually and by hearing rather than relying on smart compressors, with no saturators, multi-bands, maximizers and other coloring tools applied at all and with only the most obvious flaws of initial recording corrected.
Now, when the music burden is finally off my shoudlers, I am focusing on visuals and pre-release routine. Promotional photoshoots and a couple of design sessions with Rachel Bauer and Jess Telmatt are scheduled for the upcoming weeks, as we need to sit and accumulate some ideas, discuss how to expand the musical ideas with appropriate visuals and the discussion with Melodic Revolution Records regarding the release date and other details that would move the album from the table blueprint to its physical shape is due. It feels almost as a pleasure after so many months of painful – and really unusual for me – trial and error search process.
But it is worth it.

Kind regards,
Transport Aerian Project.


According to Melodic Revolution Records,

Theiranthrope is an album, whose themes are dedicated to the emotions of the mind, torn by different assets of mental illness in the context of quickly developing world on the brink of the war, social and economical catastrophe. In the other worlds, it explores a twisted, ugly side of anyone of us in the modern world.

Besides the conventional music pieces, Therianthrope also features The Abstract Symphony, a set of songs and instrumental pieces based on blind improvisation by the team of guest musicians. Nobody knew what the other musician would play, as they were only given a theme to describe and photographs to emphasize the visual in the sound. Such experimental approach is a manifest of modernity, an information field that contains the similar artistic concepts and thus allows any music to be created out of idea, without other forms of direct physical or intellectual interaction.

For the first time, Transport Aerian features numerous guest musicians, including Paul Sax (Curved Air, Praying For The Rain), Elvya (Ayreon, Elvya), Marco Ragni (solo), Peter Matuchniak (Gekko Project), JoJo Razor (Gekko Project), Dyian, Stef Flaming (Murky Red, Ocean 5), Darren Brush, Stefan Boeykens and Rachel Bauer. Therianthrope is set to be released in late 2017 by Melodic Revolution Records.

Transport Aerian and Melodic Revolution Records would like to unveil the first official teaser video for upcoming album Therianthrope.

The teaser video features a fragment of the song Smirking Sirens from the upcoming album, featuring Paul Sax (Violin), Elvya (Hammered Dulcimer) and Dyian (Hurdy-gurdy). Transport Aerian’s Therianthrope is scheduled to be released in 2017.


Dear friends, followers, music lovers and random passers by,

Let me start this letter with a sort of apologies. It’s been a long silence from my camp, and despite giving you the snippets of what is going on behind the curtain of informational static, I generally were not much to provide any considerable update regarding what really is going on with the album recording, despite that I have announced the beginning of it almost a half year ago. That said, a lot of work has been done, and a lot has been accomplished. I always need long silences between the recordings, to gather the ideas, and the two years after Darkblue, has been a needed and fruitful time for me to recharge the ideas and to freshly think of what I need and what I have to say. That might sound coincidental, but it seems, the themes that emerged on Therianthrope and the semi-insane concept of free blind improvisations of Abstract Symphony does represent some personal perspectives on our instable and unpredictable times. It sounds especially relevant in the light of recent waves of world’s problems and in the wake of this massive crackle at the seams of the humanity as we know it. The themes of Therianthrope revolve around the attempts to merge world’s objective variables and the descriptions of personal demons and phobias. As the paranoias and the anxiety attacks appear increasingly difficult to contain, these would give me the inspiration to pen down a big share of Therianthrope’s material, adding details to what I thought to be mostly finished concept. I was attempting to write exclusively in the middle of panic attacks, to describe the visiting demons in flesh, rather than appealing to the unreliable shifting mirror of memory.
It did work particularly well for the lyrics, and for the music this time I’ve decided to bring in a factor of unpredictability and the eyes, ears and minds of other beautiful players. So I’m extremely satisfied with what the guests of the album have done for it, and very proud to have these amazing collaborators aboard.
But with all these, there is also a major problem that changed the game and is likely to change the album’s initial sound too. Bart Van Roy, the drummer who was working with the early Transport Aerian line ups and who was to rejoin me for Therianthrope has the unexpcted barrage of personal troubles that requires his undivided attention, and will keep him unavailable for the considerable period of time. We talked, and after a long conversation and fruitless attempts to put schedules together we both figured that it’s not going to work as intended. It was mutually agreed that Bart will not be taking part in this project anymore. I understand the situation and I respect and support the choice made, but it does leave the demanding position behind the drumkit empty. I am currently considering different options and contact possible candidates. Therianthrope, like other Transport Aerian albums has a big share of electronic loops and percussions, but this time a lot of material have been composed with a particular style of drumming in mind, so having only myself for this task will definitely not be good enough! As the shoes left for this spot are quite large, I will look for an open-minded, dedicated musician. The update regarding who will be in charge of Therianthrope’s drums is to come as soon as I know more myself.
On the positive side, the work carries on quite effeciently. Most of the songs have already been composed and recorded, the structers for The Abstract Symphony blind improvisations by Therianthrope guests have already been put together. I also have started working on visuals and you, possibly, will be confronted with the first (and spooky!) trailer very soon! Additionally, I have a very particular interactive scheme in mind that will need some work behind the scenes, but will be issued in the coming months.
The with so many experimental aspects, brilliant and many guests and quite a high standards of quality does take slightly longer than I initially planned, but the result is worth this effort.
I’m sure you’ll agree with me once it’s ready.


It’s been a long while since I presented you an update regarding the ongoing Therianthrope recording sessions. A lot of work has been done behind the curtains, a lot, to make sure that your waiting will worth it. So today with a great excitement, I can announce one of the most intriguing guests musicians. His name is Paul Sax, a violinist best known by his work with the pioneers of British progressive rock scene Curved Air. Paul has added some of his gorgeous improvisations to some of the key pieces of Theiranthrope. I’ve always thought of violin to be one of the most emotional instruments, and in the right context and played by an acknowledged master of the instrument, it does enrich the tunes with more deepness. Paul Sax is an amazing and inventive player and a very kind, generous and open minded person, so I must say, it is truly an honor for me to be able to introduce him as a guest on my best to date work. And I hope you’re looking forward to it as much as I do.


It has been a fantastic day for me and for Therianthrope yesterday. I’ve booked a small musical venue to record some fabulous dulcimer playing by Transport Aerian’s guest Elvya, of whom I was talking in this blog post some time ago. She is pretty known by her absolutely fabulous solo project, that I recommend to anyone who loves very high quality yet absolutely spiritual and sincere music and by her appearance on one of the creations by Ayreon.
She has a beautiful singing voice and her main instrument is a hammered dulcimer, an exotic string instrument, that she plays masterfully.
She added this majestically sounding ancient instrument’s parts for a couple of songs of Therianthrope and participated in weaving of Abstract Symphony. The whole session took slightly less time than I expected as Elvya appeared to have a sensational grip on harmony and improvisations and did almost everything I expected in one or two takes.

But the surprise was still yet to come. It turned out that she was accompanied by a friend, a Polish folk musician who just happened to be around these days, and who also happened to be no other but Dyian, known by his performances with a slightly modified exemplar of Hurdy-Gurdy. And he brought that to the recordings and kindly agreed to lay a few parts on the opener song! I have had a fortune to videotape fragments of them both playing and I promise for a small video to be published in the nearest times! The man also appeared to be of a very sweet and friendly personality, and brought and incredible vibe to the whole thing.

So I watched him rolling that handle and creating sounds that felt like coming right from the 9th century, when this instrument has initially been created.

And in the end of the session I also appeared to be a happy owner of a physical copy of Elvya’s album The Untold Stories, which I can cordially recommend to absolutely everyone, be them prog-fans or not, as its probably one of the strongest independent artist works I’ve heard in the last couple of years. As far as I know, the album is still available and you can get it by contacting Elvya via her official page or following this link.
Overall that has been an extremely productive and very pleasureful experience with exotic instruments, free thinking and friendly musical fellows.


Sometimes amazing things happen unexpectedly. Today I’ve had a recording session with the amazing Elvya to put on tape some of her astonishing hammered dulcimer improvisations, and she brought a friend to the recording session who happened to be no other but Dyian, a polish folk hurdy gurdy player, who has also kindly agreed to play some additions with his exotic ancient instrument. So here I am to announce another guest on ‪therianthrope‬ album.


A woman’s touch can change a lot. In some cases, like it happened with my previous work Darkblue,it can change everything. Despite that Therianthrope is more of a one-actor-theater, I consider some haunting, deeply dark female voice to be an absolute necessity, to tell some parts of the story, or just to be there when its needed. The choice is obvious, and the next guest on the album is no one else but Rachel Bauer, a lady who shaped a lion share of visuals, and a lot of sound and atmosphere on Darkblue will also play a role of spoken word narrator/backing vocalist on Therianthrope, although her role this time will be slightly less significant due to the matter of the concept.


Right from the start of current incarnation of Transport Aerian, he was there. A brother in arms, and on of the essential fulcrums of project’s live sound. Sadly, we only occasionally experienced studio work together, so it is decided to make it a little different this time. You’ve already guessed: Stefan Boeykens, Transport Aerian’s irreplaceable live line up guitar player is to provide some guitar textures for some pieces on the album. He has a very special sound and style rooting in the classic guitar and his parts will surely be a beautiful addition to the organizingly chaotic canvas of both Therianthrope and The Abstract Symphony parts of the album.


Do you like your music haunting and with a touch of something exotic and vivid, as much as I do? From the start, I wanted this project to operate on different musical levels, so the touch of some exotic yet beautiful soundshapes were needed. So let me introduce you a very special guest on Therianthrope album. Her name is Elvya, and she is known as much by her astonishingly haunting and beautiful solo work that has been released this year, as much as by her work with Ayreon. She plays a very special medieval instrument called hammered dulcimer. It’s sound and her personality will add some special flavor to the project that you soon will be able to taste yourself.


I seldom work with other guitarists than myself in studio. The fact that I decided to change it this time does imply a cordial compliment to the guitar player that I am honored to introduce today as a part of Therianthrope. Peter Matuchniak, known by his work with Gekko Project and many others, is to collaborate with Transport Aerian this time, to provide some of his signature melodic tones as well as some proggy guitarscape extravaganzas. Combining a crafty jazz-influenced technique and a deep knowledge of guitar effects, Peter will be a great textural addition to the melodic side of the Abstract Symphony and Therianthrope.


Italy appears to thrive with highly unusual, open and unique minds, and so does it attract such, remembering stunning success of Peter Hammill there. One of the dearest guests on Therianthrope is Italian multi-instrumentalist Marco Ragni, MRR brother-in-arms with roots in psychedelic scene, for whose most recent creation Land Of The Blue echoes (also starring, among many others, legendary Durga McBroom of Pink Floyd and the underground champion Colin Tench of Corvus Stone) I have had an honor to play some bass. Marco Ragni’s vision will play a significant part in the Abstract Symphony and he is also to provide some synths and guitars on the other songs of the album.


I’ve always had a feeling that extended harmonic instruments would be in the right place in my music. So while the bass guitar player is still to be announced, now it is time to introduce the other side of rhythm section of the Therianthrope project. A stick player, a progressor and a free thinker, Darren Brush is joining efforts to provide some melodic experiments and investigate the rhythmical spaces of both album part and the Abstract Symphony.


It has all started now. The first sketches of sound are brought into this world. More considerations and visuals are soon to be given.