Beautiful orchestration Great arrangement 👌 👌

Experimental, electronic soundscape by Spasmodular and VCO (Vincent Carlton Overdrive). This composition was created from field recordings, shortwave radio noise, and multiple synthesizers. 
c) 2023

Salapärane Tunnel

Concrete Walls

Mom's harp and an old unlabeled Ariah guitar I picked up in EastVan, CA, for CAN$35 at an antique store w/some damage...

MomsHarprahSsmoM (and the Back Screen Door)

Solo piano requiem in F minor dedicated to a dear friend of mine who recently passed away

https://darksideofsynth.sellfy.store/p/adieu-solo-piano-requiem-for-a-friend/

Adieu

Adieu (Solo Piano Requiem for a Friend)

Composed, arranged, performed, and produced by:
Carlos Vivanco

Desert Shadows

Sand Storm

Coinci: Quartet for Multiple Instruments

At a Dead Party

Solo Piano - Chris Bright

to leave this place - 4:11:24, 12.34 PM

I wasn't always an extraterrestrial

I was born on a world ten thousand light-years away
In another spiral arm, but baby, who's to say
Where one arm ends and another one begins?
I wasn't always an alien

Came to your planet to see how y'all were getting by
Seems like you are always low and never high
And I'm afraid to say your planet has failed the test
So we'll come back in a decade and hope for the best
Maybe then you won't shoot our balloons down from the sky
Why are humans so violent?

And we're watching you from the depths of the night
You're like children playing with fire
And for your sake I hope you guys survive
Cause the next decade ain't gonna be an easy ride

So here's some advise for the storm:
It ain't a sprint, it's a marathon
You'll make it through, though the road is long
Cause it gets darkest before the dawn

I Wasn't Always an Extraterrestrial (2024-04-16)

heck yeah

Had a lot of fun creating this for Arturia's Analog Lab Play! Incredible sounds on offer by Arturia.

Be Mine Tonight

I play the piano because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

to leave this place - 4:11:24, 12.34 PM

Chris Bright

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