Awesome!! Nice track dude, keep the flow going...

This go tuff, that intro scary as hell lol

Nice whistle shit going on [via https://sc.repostexchange.com]

love the big sound, and the vocals are produced very well

Let's picture ourselves
And two chairs, nothing else
Talk about everything or nothing
Shall we?

Let's now stop looking
For elusive happy endings
Second chances don't come twice
Don't you see?

Take a chance
Take a chance
Take a chance on second chances

Let's say hello to the world
And try to judge no soul
Humanity is standing at crossroads
Are you in?

Let's sit back and see
If our sorrows are worth it
Second chances don't come twice
Don't you see?

Take a chance
Take a chance
Take a chance on second chances

You gotta take a chance on second chances
A second chance is all it takes


Album - Heart to Heart (C)2020
Song - Second Chances
Music - Russell Lucas and  Sreyashi Mukherjee
Vocals and Lyrics - Sumi (Sreyashi Mukherjee)
Arrangement and Production - Russell Lucas 
Mixing - Romano Erafficci

Second Chances (EP - Heart to Heart)

Song about new love. Thanks for listening and for the awesome comments! J

Cure

◉ Follow Magdalena Meisel:
@magdalenameisel
OLD BREAKOUT Live concert :
@youtu.be/itSUfujOYy0

INFORMATION
One of the greatest hits of the Breakout band. The song was composed by Tadeusz Nalepa to a text by Franciszek Walicki, sung by Mira Kubasińska.

If you loved hey

lyrics :

If you loved me just a little bit, hey
If you loved me as much you don't love me,
If you weren't as you are, 
wanted me as much as you don't want me...

You would be a wind and I would be a field, hey 
You would be a sky and I would be a poplar, hey 
You would be sun and I would be a shadow 
If you just changed yourself...

If you weren't in my dreams at night, hey 
If you finally left me alone, hey 
Maybe I would forgive yeu, 
Maybe I would forget...


Vocal : Magdalena Meisel
Music : Tadeusz Nalepa
Lyrics : Franciszek Walicki
Wikipedia : en.wikipedia.org/wiki/Franciszek_Walicki
Wikipedia : en.wikipedia.org/wiki/Breakout_(band)

Gdybyś kochał, hej - If you loved, hey

Ritual

Black Rabbit - Ritual

Another electronic track, this time round with a tint of rock.

Winds of Memories

R-Soul Collab-Version: https://soundcloud.com/russell-lorenz-526500824/things-that-fall-from-your?si=30e3493221994c559bf30b37bf59e333&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

I don't want to destroy my first Demo-Upload. 
It is so sweet with the background laughing. So i create a new Version of this song.
Please check out the collab of this song with R-Soul. He lovingly added drums and backing vocals to this song.


Lyrics:
Sometimes things will happen, that can never be explained 
As by magic, they will stagger fall to the ground in pain.
Like a statue, anchored to its grounding 
They’ve lost the touch.

The stone you picked up at the shore on your holiday.
Has lain under water for many, many centuries
Moved only at low tide by the waves and the current.
now gets out of balance

And the things that fall off your shelf
Make me think about myself
How it must feel when there, where once was my place
All that's remains of me is this empty space
 
And while I fall off your shelf.
Pass all these things of beauty and grace
That you have placed with your skill for design and flair
As if between you and them would be a love affair

Everything arranged like a map of your mind 
mirrored on the wooden boards I left behind.
Each place was chosen with precission and care.
Some in a way that no one else would dare.
Some do not seem to fit together at all.
Without you, i feel so small

And when i reenter my place
you can see the tears that run down my face.
Of Joy and Fear 
I swore to you my dear
i will never leave this place here, without you again

Things Fall From Your Shelf - Second Demo

Rêverie

Began as a jam with XAW on guitar, using a Helix, and SA on drum kit. SA added tracks and produced.

World

Gravity(Mixed & mastered by Benzo)

Duration: ca. 21'
Music by Robert Paterson • Lyrics by David Cote

Instrumentation: soprano and chamber ensemble (wind doubler [flute, B-flat clarinet, oboe], violin, cello, percussion, piano)
Performed by American Modern Ensemble, Marnie Breckenridge, Soprano
Formerly titled "In Real Life."

Purchase Sheet Music: (Version for Soprano and Chamber Ensemble): http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2778

Purchase Sheet Music: (Version for Soprano and Piano): http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2777

For more information:
Version for Soprano and Chamber Ensemble: https://robertpaterson.com/in-real-life-version-for-soprano-and-chamber-ensemble
Version for Soprano and Piano: https://robertpaterson.com/in-real-life-version-for-soprano-and-piano

In Real Life II for baritone and chamber ensemble and baritone and piano also available. (In Real Life II consists of different songs than In Real Life.)

PROGRAM NOTE
Forty million Americans do it: join a dating site hoping to find true love in digital space. In Real Life is a song cycle for soprano and piano that explores the humor and heartbreak of this modern ritual. Five women fill out their dating-site profiles, opening a window into their worlds. The first song is “A Regular Woman,” in which a lady outlines the exact sort of man she’s looking for with comical specificity, perfect for today’s on-demand culture. “Late Bloomer” is a sweet and wistful portrait of a woman who learns in her 40s that her romantic tastes have changed radically. Next, in “Anastasia,” we hear from a Russian looking for a husband—with all the broken English that entails. With “Collateral,” the mood turns dark, as a war widow contemplates returning to the dating pool. Finally, “Rewind” is a nostalgic anthem by a 35-year-old whose divorce has made her feel like an awkward teen again. Can she learn something from her younger self? Funny and sad yet full of hope, In Real Life is about reality, fantasy and second chances. In Real Life was commissioned by Austin Chamber Ensemble Artistic Director Martha Mortensen Ahern, in honor of its 35th season.

American Modern Ensemble: In Real Life

In Real Life I - III. Anastasia

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.

Black Rabbit - Ritual

TheBlackRabbit

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