THIS IS A VERY GREAT 👍 CLEAN DAMN TRACK ESPEN !!!! HAHAHAA THANK YOUUUU!!!!

DAMNNNNN I LOVE THE BEGINNING OOOOOOOOO!!!!!

hey cool track idea, maybe work on the vocals and how they fit into the track a bit

Cool voice play, Kenna-Rae! Good pairing of artists! LOVE it! A perfect tease! Espen, you always put that masculine potency into the production!  2HOT! >>>

fantastic mix! so well produced. lovely track!

[original guitar score by @john-byrne-117035719]

When I watched you from a paper cloud,
my paper cloud
was overflown with all the
beauty there could be.

And then it was time
to tumble down, can't turn around,
but every choice I made
made a smaller me.

And when I looked around
my world so small, no world at all
I remembered all the colors
I'd seen from above.

And I decided to enjoy the fall
dive into the rotten dirt
and dig me up some love.

This plane is going down,
but it's the screaming
of the air that awoke us

Good time to take a look around
and find the way to plummet
with an unrelenting focus

Yeah, this plane is going down, down, down
but it's still holding up,
and it ain't down yet.

Great time to use up all that focus
I need to burn my way
down to zero in regret.

[ zero in regre-e-et, e-et ]

So when I take you
by the neck and waist
then spin around,
it's like I'm dancing
with a much braver me.

Let's never plan
to settle down, nor settle for
anything less than everything
there is to do and be.

This plane may be going down
but nothing short of
a mountainside can block us.
It's time to move those feet around
we can dance circles 'round the world
when all we've got is focus.

[ Swing with me.
Take a swing with me.
We'll take a swing at everything there is
to do, and to be.
There's so much to do
and to be... ]

You're invited to my paper cloud—
my paper cloud
makes all possible beauty plain to see.

This plane's still going down,
it's going down, it's going down,
but it ain't down yet.
There's always time to
work our way down to
zero in regret.

We will watch the world
grow bigger in our eyes.
We will burn every last drop of fuel
on nothing will suffice.

Support John

Zero In Regret (with John Byrne)

While I constantly reflect on life, I wrote music. This past year has come with some closure, but also brought some opening. Sit back and chill while you listen to my story! EP is also out on Spotify!

Need Mastering? Hit up Tyler Clark of Devil Den Records

Catch Me

She drives me crazy, the way she moves...

Crazy

Crazy - KRT Production

Naked

Dancing in the Rain - Collab w/ Kenna-Rae

Seq00l  WWW  Love Is That Condition In Which The Happiness Of Another Is  Essential To Your Own.

Babylon

blitzZz

blitzZz (melodic)

This is only a watermarked mp3, please buy the Track in High Quality on iTunes, Amazon, Google Play etc.
Thank you

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1103 Musik @ Amazon
https://www.amazon.de/Berlin-House-Session-Various-artists/dp/B018LPM0LM/ref=sr_1_3?ie=UTF8&qid=1467513039&sr=8-3&keywords=house+session+1103
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1103 Musik @ Musicload
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1103 Musik @ Napster
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1103 Musik @ Deezer
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1103 Musik @ Saturn
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1103 Musik @ JPC
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1103 Musik @ Weltbild
https://www.weltbild.de/artikel/musik/einklang_20560759-1

and many more :-)

Dj Rob De Blank - Ibiza Session 2016

Download

Another Ending

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

Dancing in the Rain - Collab w/ Kenna-Rae

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