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AATTACK Of The Liquidators

Gaang Gaang

Gotchi Gaang Go

Humble Yield Farming

March Of The Liquidators

On The Grind

The Great Summoning No Drums

The Great Summoning

On the Grind

On The Grind Gotchi Draft 02

On The Grind Gotchi Album Draft 03

Gotchi Gaang GO!

On The Grind Gotchi Album Draft 04

Skeleton Key & Feather is a thoroughly integrated blend of melody, on recognizable instruments, and ambient sounds created by various experimental production techniques and synths. It utilizes guitar, digital, analog, and software synths. Many of the sounds were created by production techniques using loops of various pieces of the music, playing with time and EQ like instruments. This album came about by combining two previous projects and re-working them. The Declivity & The Panorama Beyond are two songs from Experimental Cassette #0001 which became part of the ambience for the album. Many of the melodies are from another song I was working on. The song originally had a more traditional rock direction and instrumental lineup which I deconstructed for a more lonely and ambient feel. When I changed directions of the song I decided to explore the original themes with different synths that helped to build the atmosphere in which the melodies and the breathing silence between notes to create the rhythm.
Introitus, Intermittent, Coigne, & Interminable were all simple 2 voice explorations of repeated themes. These songs are moments of reason and clarity; simple logic by which to explore the complicated emotional themes of the larger compositions The Declivity & The Panorama Beyond.

I Introitus

This is an ambient remix of Azimuth by Lissa K. https://soundcloud.com/grayarea89/sets/a-i-r

Azimuth (FAS remix)

Azimuth - Lissa K. (F. Anthony Shepherd remix)

Nominated for "Best Score in a Short Film"
at The Horrible Imaginings Film Fest 2018
http://www.hifilmfest.com/2018-awards/

"The Final Nights of E. Zann" screenings in order:
New Orleans Film Festival 2017
Always For Pleasure Fest III 2017
NxMW 2018 (North by Midwest Micro Budget Film Festival)
H.P. Lovecraft Film Festival in Providence, RI 2018
The Horrible Imaginings Film Fest 2018
H.P. Lovecraft Film Festival in Portland, OR 2018
https://vimeo.com/188565671

The short film is featured on:
The H.P. Lovecraft Film Festival Best of 2018 on DVD & Blu-Ray
DVD
arkhambazaar.com/films/h-p-lovecraft-film-festival-best-of-2018-collection-dvd/
Blu Ray
arkhambazaar.com/films/h-p-lovecraft-film-festival-best-of-2018-collection-blu-ray/

The Final Nights of E. Zann is an aural interpretation of a short story by H.P. Lovecraft, about a viol player who is driven to madness by his nightly battle to cover the horrific sounds of evil forces clawing into this world; struggling to keep them at bay with only the feverish strength of his playing.
E. Zann is a composition loosely mixing atonal and 12 tone techniques. The first track I wrote was the higher of the instruments which is so vastly layered with melodies, and delays that drape over everything with a beautiful dissonance so that it cannot help but be atonal. As soon as a semblance of melody peaks up it is once again sloshed away in the sea of dissonance. Next I chose to highlight the attack notes of the atonal melody with an accompanying, low sustain bass synth. I kept this bass in the same register as the original melody. I then played another of the same bass synths two octaves lower but to a completely different melody thus adding hits and knocks, which when all combined, made it sound as if a person was playing their instrument so violently as to not care how they banged it, and let loose strings fly in the fervor. 
After all of that I began to mix, but was still unsatisfied with the low end of the spectrum. I also felt that the atonality, while beautiful, was a bit numbing. It could have just been the hard to follow atonal melodies but I think it was also the length of the song, because I hadn’t cut it into Nächte yet. I decided to add another bass synth, this time playing a revised version of the atonal melody I began with, except that I transcribed each Nachte in steps from the original. Since it’s atonal I couldn’t exactly transcribe it to any key, I used middle C as a reference, and transcribed my chosen steps from there. There are 25 Nächte so every step is repeated twice (12 tones x 2 = 24) only one step was repeated a third time. I followed the 12 tone rule (kind of) by having not repeated a step until I have completed all 12. The first 12 Nächte represent 12 tones in relation to the highest melody these were chosen almost randomly. Nachte 13 I consider to be the extra tone; chosen wisely. Nächte 14 - 25 are another 12 tones intentionally chosen in relation to the highest melody.
The music for the audiovisual version is arranged specifically for the animation and the change in steps do not follow the 12 tone rule. The music for the animated trailers were also arranged specifically for each trailer. These three compositions exist outside of the album, The Final Nights of E. Zann, as revised themes or alternate Nächte.
I have long been a fan of H.P. Lovecraft and while working on this piece it came to me that it was a battle taking place to keep things out of our realm; a common theme in his work. My mind flew to The Music of Erich Zann and that inspired me to take the music far beyond the original atonal melody it began with. I changed the title because I also changed my approach to the story. This was being told from Zann’s perspective there is no other witness, save you, the listener. This is happening in real time; these are The Final Nights of E. Zann.

zimteemo.bigcartel.com/product/the-m…-poster-combo

zimteemo.bigcartel.com/product/limit…ic-prints-3-5

The Final Nights of E. Zann

The Final Nights of E. Zann (Film Score)

The Final Nights of E. Zann (Film Score)* trailer link in description

Musician, Producer, Filmmaker;
ENS domains 
zimteemo.eth
zombieshepherd.eth

I conjure sound, experiment with vision and work at Zim + Teemo (Animation Studio) as Creative Producer and everything audio.
Open for score and remix commissions, possibly collaborations;
Serious inquiries only.

***All audio should be heard on high quality speakers or headphones for best results.***

For clarity between projects, collabs, and bands;
Track - (Album) - Artist(s)
posts will be labeled as such when necessary.

Each track has additional artistic and technical information, easter eggs, and links to associated videos, collaborators, etc. in its description. I try to keep an interesting and curated feed; I repost when/where things fit.

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F. Anthony Shepherd

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