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John Hinchey

Nashville Music Producer, Composer and Arranger

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Commandos 1 Behind Enemy Lines

They dropped into black and cut loose. Wind ripped at Marek's face as the parachute opened; below, the enemy base lay like a sleeping beast—rows of tin-roofed barracks, floodlit guard towers, a coil of barbed wire that glittered under searchlights. He landed hard behind a stand of scrub and rolled, breath stuttering, boots sinking into mud. Around him the team assembled like ghosts: Sato, lean and precise; Iván, easygoing until his hands tightened on a rifle; Jonah, whose laugh had gone somewhere between the last briefing and now.

"Two minutes," the pilot said, voice small through the intercom. Marek checked his kit one last time: suppressed pistol, folding knife, spare mags, wire cutters, a single claymore. No time for sentiment. This was surgical work—no fireworks, no heroics, only teeth and silence. commandos 1 behind enemy lines

They exfiltrated through the south drainage, carrying only what they could. Enemy reinforcements converged along the main road, boots like thunder; flares skittered across the compound and painted the ground in harsh, talc-colored light. The team dissolved into the night—several feet of water and a maze of reeds swallowed them. For a breathless hour they were fish, invisibility their only ally. They dropped into black and cut loose

Inside, the base slept under a rain of sodium lights. The team split: Marek and Maria—an explosives specialist whose small frame hid a gravity—ran for the radio mast; Iván and Jonah went for the convoy. They slid along service roads, hugging shadows, the world reduced to a heartbeat and the smell of grease. Around him the team assembled like ghosts: Sato,

Back at the rendezvous, they counted losses in paper and silence. A single truck burned on the horizon. The radio mast lay in ruin. The convoy missed its window; the timeline of the enemy altered in small, catastrophic increments. They had not won a war. They had not pretended to. They had stolen an hour of advantage, a ragged, vital second on which larger things might turn.

When the first charge sounded, it was a soft, intimate thunder that didn't belong in a place of sleeping men. The tower went dark in a bloom of sparks and shredded cable. Alarms screamed like trapped birds. In the distant east, headlights flared: the convoy was late, stalled by the confusion. The base erupted.

Marek sat on a wet log and let rain wash the grit from his face. Jonah lit a cigarette with hands that didn't tremble. Sato hummed quietly, a melody that seemed older than the war. Maria taped the spent charges together as though ritual required it. None of them spoke of medals or homecomings. That was not the point. They were technicians of chaos—precise, necessary, and utterly expendable.

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    About John Hinchey

    John Hinchey helps his clients' projects sound beautiful with the notes he puts on paper.

    John Hinchey is a producer, arranger/composer and speaker. He helps musical artists (such as Martina McBride), production companies (for cruise lines and theme parks), and independent singer/songwriters with musical arrangements, composition, music prep and trombone. In addition to arranging for Sting's Rainforest Benefit Concerts, he has also produced, arranged and/or composed music for the 2004 Democratic Convention, Norwegian Cruise Lines, Royal Caribbean Cruise Lines, Indianapolis Symphony Orchestra, Evansville Philharmonic Orchestra, the critically acclaimed CD "Rewiring Genesis: A Tribute To 'The Lamb Lies Down On Broadway" and more.

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