Gorgeous!! Great track and fantastic mix!

excelente voz  , muy bien cantado , un lujo

Good and hypnotizing beats with so good vocals.

Well done..loved the tone of the female singers voice..All round great job..sounds really pro.

Beautyful song, lovely voice and rythm. Thank you

Cinematic Composition for Sync

Composer: Andrea Pierantoni (100%), SIAE, IPI:1088848698
One Stop Clearance; singlehanded@neverenoughcowbellstudios.com; 100% master and 100% publishing control.

Remote Desert (Instrumental)

Could I Be?

UK singer songwriter These Guitars Say Sorry's acoustic-driven instrumentation contributed to the popularity of  "Has It Come To This" live and is one of the band's signature songs and is a great fit for alternative rock playlists.

Has it come to this
Bloodshot eyes and clenched fists
Angry words and red mist
Once again

When you’re shouting at the kids
And you’re caught in the midst of this
It’s not what you had wished
But it never is

And our lives just ran aground
When there was no-one else around
No-one there to hear the sound of us fall apart

And when there’s nothing left to say
And we say it anyway
Cheap wine won’t take away
The pain we feel

Has it come to this?
This is yours and this is his
Broken hearts and promises
Why don’t you add it to the list

Separate beds means separate lives
Someone’s husband, someone’s wife
You bit me once, twice I was shy
And now we’ve no more tears
To cry I I I I I 

Has it come to this
Bloodshot eyes and clenched fists
Angry words and red mist
Once again

Has It Come To This by These Guitars Say Sorry [alt rock 80s pop]

Snake

Recorded in a derelict studio in Detroit, Black Star is the first track on The Dark Messiah's new album "Reserche".

Sticks Thompson - Drums
Art Masters - Saxophone
Reed Johnson - Sax
Guy Stansfield - Clarinet
Blue Six - Trumpet
Tully Wilson - Trombone
Wilt Flowers - Bass
Sonny Rhodes - Piano

Black Star by The Dark Messiahs

True and honey honest the mind pushes you out
to place that weapon frame
with so much joy and confined optimism
how we re-invent ourselves
In safety, dispersing-that smile 
like failures so far gone we no longer love ourselves.

the weakening lamp expressing desire of a divine disgrace
so convinced you were empty sad silent
around the darkened edges
together soaking up the soundtrack 
of your empty, broken realism
living in the heavy 
atmosphere changes to color your empty spaces

Laughing Hound Hereafter

Ripples of Relaxation

Ripples Of Relaxation

Eclipse

Svella

https://youtu.be/VUJ5nkfEp5Q?si=dIxNNWD_GSTG8yPA

Our Father

Autumn Songs (for Mezzo-Soprano and Chamber Ensemble)
Duration: ca. 18'

MOVEMENTS
I. Ascension: Autumn Dusk in Central Park (Evelyn Scott)
II. Under the Harvest Moon (Carl Sandburg)
III. All Hallows’ Eve (Dorothea Tanning)
IV. November for Beginners (Rita Dove)
V. Leaves Before The Wind (May Sarton)

Performers: American Modern Ensemble, Blythe Gaissert, Mezzo-Soprano
For more information: https://robertpaterson.com/autumn-songs
Publisher: Bill Holab Music: http://billholabmusic.com/store/index...
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=autumn&main_page=advanced_search_result&search_in_description=1
View Perusal Score: https://issuu.com/robertpaterson/docs...
Also available as a version for mezzo-soprano and piano: https://robertpaterson.com/autumn-songs-version-for-mezzo-soprano-and-piano

PROGRAM NOTE
Autumn Songs for mezzo-soprano is my final song cycle celebrating the seasons. As with my previous three seasonal cycles for different voice types, this cycle contains settings of poems by various American poets.

Like Spring Songs, Autumn Songs begins with New York: a setting of Evelyn Scott’s Ascension: Autumn Dusk in Central Park, an early 20th century Imagist poem in which people seem to merge at dusk. The second movement is a setting of Under the Harvest Moon by Carl Sandburg. In this poem, Sandburg uses autumn and summer as a metaphor for people in two different periods of life, revealing beauty in both stages. Memory is the primary concern for someone who is older, and possibly for someone who is younger. The third movement is a setting of All Hallows’ Eve by Dorothea Tanning, who was not only a poet, but also a well-known visual artist whose early work was inspired by Surrealism. This is perhaps the most playful setting, and I used Tanning’s evocative, Surrealistic imagery as inspiration for colorful sounds and angular dissonances in the ensemble. November for Beginners by Rita Dove is the text for the fourth movement. In this setting, Dove beautifully encapsulates the feeling of waiting for winter in November, and the sense of anticipation one feels during the fall months. At the end of her poem, she uses the sound of zithers as a metaphor for the sounds of wind and rain when spring comes. The final movement, a setting of Leaves Before The Wind by May Sarton, is inspired by Irish jigs, and mimics leaves blowing in the wind. The penultimate section is anthemic, and the end of the movement is more calm and similar to the beginning.

Autumn Songs was made possible, in part, by generous support from the Gerson Family Foundation.

ARTISTS
American Modern Ensemble: http://www.americanmodernensemble.org
Blythe Gaissert, mezzo-soprano: http://www.blythegaissert.com/
Sato Moughalian, flute
Pascal Archer, clarinet
Matt Ward, percussion
Esther Noh, violin
Dave Eggar, cello
Geoffrey Burleson, piano
Robert Paterson, conductor

Could I Be?

DSYG

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