Part of Luna Park's Light Show in Sydney. Hope you enjoy!

https://open.spotify.com/album/07QxfyuHfQ0zXyHIaACWAC?si=ZDpc9l7jQu6kh5aVYeFeOw

Overture to Olympus

BLEW :  ( hyperfunk  one)
An ecstasy of fumbling : https://soundcloud.com/ecstasyoffumbling
Brass section
Saxophone
Upright bass
Bass
Additional drums
The inconsistent  jukebox : https://soundcloud.com/barry_snaith
Snaithlicious Guitar
Additional voice samples 
Additional Cathrinta voice (sample from 'Icarus As A Girl')
Additional percu
Musicaserj :
Guitar
Drums programmation
Piano programmation
Brass programmation
Mute guitar programmation
TCP : https://soundcloud.com/teresa-powell
 ‘Swingle Dops’

BLEW (feat An ecstasy of fumbling  / the inconsistent jukebox ) HYPER TEAM

music , arrangement , production : Tony Stephard

Cyber Perversions

Copyright 2018 Adam C Daniel
All Rights Reserved
Uploaded 11.24.2017

Sprout

https://open.spotify.com/album/7r8HEFDhfiyewnMp5Q13SH?si=utFqkeyfRh-Ej-o_MGx0PQ

A Magical Journey

The title “140.6” comes from the nickname of the Ironman-distance triathlon race, in which athletes attempt to cover a distance of 140.6 miles within a time limit of 17 hours. The race comprises of 2.4 miles (3.8 km) of swimming, 112 miles (180 km) of cycling, and a full marathon run of 26.2 miles (42 km). It is the pinnacle of the sport for many triathletes, and is generally regarded as one of the most difficult races in all of endurance sport. At the time of composition, the composer was training for Ironman Haugesund, which takes place on June 30th, 2019.

140.6 (a tone poem for full orchestra)

buy digital

Pavel Milyakov — january

music/arrangement/production : Tony Symphorgy

Desperation

Righteous

Sizzle Reel Demo (Drama)

Electric Lines for Orchestra, music by Robert Paterson
Duration ca. 9'
Winner of the Lousiville Orchestra Composition Competition
Performances by Minnesota Orchestra, American Composers Orchestra
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=932
For More Information: https://robertpaterson.com/electric-lines

PROGRAM NOTES
In past summers I have taken long trips across America from New York to Colorado. Driving along the highways, there are endless fields, infrequently dotted with farms and farm machinery. Contrasting the farmland's somewhat natural splendor, there are thousands of miles of electric lines—ubiquitous and perhaps even unsightly, yet somehow blending in with the scenery.

What I find most dramatic about many of these electric lines—other than their gargantuan size—is the realization that day after day, a dizzying amount of information travels through them and across great distances: billions of pieces of information are packed inside these powerful cables. In Electric Lines, my goal is to take the audience on a sonic roller coaster ride: I want the audience to feel tremendous energy and power and the thrill of instantaneously sending and receiving information at light speed.

Although electric lines inspire this work, there is nothing technically "electrical" about it: there are no synthesizers or electrical instruments used, with the exception of the vibraphone. The electric qualities in many sections are highlighted by tense string trills, long, powerful melodic lines and by giving many of the players energetic, concerto-like parts. I also try to make the melodic lines sound charged and electric by enhancing them with various types of orchestral accents and by pairing different instruments using parallel or almost parallel lines at close intervals.

A few of the sections and transitions in Electric Lines are modeled after the physical characteristics of the cables and power line towers. Many of the musical lines occur in groups of two’s and three’s; some of them dip and swoop like power cables, while others are electric rod straight, but tense and electrified. There are also occasional anvil-accented "power chords" that act as markers to delineate certain sections.

Even though Electric Lines might seem to have industrial underpinnings and allusions to mechanics, I am not trying to align myself with the early twentieth century Italian Futurists: it is more the present than the past that I am thinking of in this work.

Sprout

Adam C. Daniel

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