I kind of didn't like the vocals at first but they grew on me...they do get better also...let me relisten...

I can understand if just wanna sing for the purpose of structuring the song and lyrics to your liking even if you aren't that good...that is what I would do...but I would say and emphasize that you do get better...I liked the middle and the chorus...you were decent.

@flagmanband thanks!  you've always been really supportive and offered really great feedback. you are appreciated 

Well done. A lot of power in the vocals. I put this song in my playlist. Fine changes between the parts.

Songwriting quality is definitely there! Just a bit of work on the vocals and the recording needed

metalcore, post hardcore, emo mashup that's about the abuse you endure from someone you love that's dealing with loss

hurricane heartbreak

In the decaying sprawl of Forever City, where the last remnants of humanity survive beneath steel skies and machine-lit cathedrals, a war for the soul of existence erupts. The once-holy metropolis, now ruled by the artificial messiah Clementine, drowns in false divinity and mechanical faith.

From the ruins below rises Donovan Vythe and his faithful outcasts, The Nazarenes, igniting a rebellion to reclaim what little humanity remains. Guided by the fractured android known as Mr. Mannequin, they fight not just against the tyranny of machines, but against the erosion of faith itself.

Forever Ends Tonight is a brutal and cinematic metalcore concept album, a story of sacrifice, redemption, and the blurred line between salvation and circuitry. Through towering riffs, visceral screams, and moments of haunting melody, it asks one question that echoes through the ruins:

“When gods are built from code and steel... who teaches them to believe?”

Crown of Circuits

Scroll VIII:VI — “The Forgotten Firmament” "The heavens grew silent, forgetting the names of those who walked below. From ashes arose a new world, broken yet whole, where memory became seed and ruin became foundation."

When the Sky Forgets Our Name

Listen on Spotify: https://open.spotify.com/track/2JyJaENlHnFwWXnNmb7rxi?si=6752ba8a37004c56
Listen on Apple Music: https://music.apple.com/us/album/op-3/1568871875?i=1568872446

Op. 3

Mood - Strange1 x Tschenis x Bambeat

The lAst STand b3f0Re P4rtIb0I 3NteR G0d MoD3💊💊💊

Focus.wav

Written: 2016-17
Duration: ca. 20'
Instrumentation: bass-baritone and piano
Mostly Modern Festival: Matthew Treviño, bass; Amir Farid, piano
Publisher: Bill Holab Music: 
http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2763
View Score: https://issuu.com/robertpaterson/docs/paterson_night_songs__score-perusal
For More Information: https://robertpaterson.com/night-songs

MOVEMENTS
I. City Dusk (Text by F. Scott Fitzgerald)
II. Lullaby (Text by W. H. Auden)
III. Birds Appearing in a Dream (Text by Michael Collier)
IV. Insomnia (Text by Dana Gioia)
V. Flying at Night (Text by Ted Kooser)

PROGRAM NOTE
Night Songs is a song cycle consisting of settings of poems by different poets that reflect on various aspects of nighttime. The cycle is structured as a somewhat linear timeline, as if the songs are meditations by a single individual.

The cycle begins with a setting of City Dusk by F. Scott Fitzgerald, is a nostalgic exploration of the memories someone might have as he or she sits in the park at dusk. This person is in the park as the lights go down, and begins to feel sad, but remembers a time when this place wasn’t dark and lonely, but filled with lights, music, and people. He also remembers one specific person, a woman with blonde hair who loved to dance, who in this case, I interpreted as my wife Victoria. The second song, Lullaby, is a setting of the poem of the same name by W. H. Auden, and is a constructed as a love song sung to someone who is sleeping, and is about the inevitability of death, and looking after someone you love. In the third song, a setting of Birds Appearing in a Dream by Michael Collier, I use bird-like motivic patterns to provide structure for the colorful, figurative descriptions throughout Collier's text. The fourth song is a setting of Insomnia by Dana Gioia. In this poem, the narrator is full of regret, and finally realizes the value of people over possessions. The final song, a setting of Flying at Night by Ted Kooser, is a poem that is all at once about what the title suggests, but also about how so much of what we experience is interconnected and tied together by light.

Night Songs was commissioned by David Neal and made possible, in part, with funding from The Community Arts Partnership of Tompkins County.

Night Songs - II. Lullaby (Text by W. H. Auden)

Snake

We redefine our place in time. No fault. No crime. 
Our sins... justified... The graves won't lie
We trade integrity to take it over.

Freedom, unity, but you must obey. Ignore all our past and what we do. Fifty stars and ten generations. 

We claw. We bite. We break. We lie. More graves. More lives. 
The hate. The climb. Absolve. Enshrine. 
We regret... not at thing, we've taken over. 

Freedom, unity, but you must obey. Ignore all our past and what we do. Fifty stars and ten generations. 

You see, the dead can take no spoils. You would be wise to take a seat and remain silent now. 

Mentioning our indiscretions? Stepping in the wrong direction. Automated targeting. Time to heed the warnings. 
This dream comes with a price. We got the money. It's our right. Paradise... tripping on the unmarked gravestones. 

Freedom, unity, but you must obey. Ignore all our past and what we do. Stars and stripes and ten generations. Right?

10 Generations of Monsters

Trolls in the Cloud

Tres

So Beastly

Eyes Without A Face ft Axis Vargo (as backing vocalist)

Producer, Songwriter, Guitarist, Bassist, Drummer, Pianist, Sound Engineer. Progressive Groove Metal, Nu Metal, Pop, Rock, and a touch of HipHop. Interested in a collab? Need an assist with production? Hit me up!

10 Generations of Monsters

Darth Marden

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