Different Time

This track is a remake of my previous song Floating keys (as the name suggests). Also took me 5-6 hours to make yesterday, but this time I didn't go from the scratch, obviously. I had two very good bass sounds, playing two separate riffs. So last month I've been collecting some ideas now and then. I made 3 extra riffs with the first bass sound, and extra rhythm (fast one) that plays in the first minute. Then I switch to normal techno and stay there till the end. 

The end is also made like before, meaning that when the song is played on repeat, it kind of sounds like never ending song. Plus this time, the end connects to the beginning of next song (which is Floating keys), playing the same part, so those two tracks sound like one long song. I'm not saying it's completely unprecedented, but it's definitely very rare on soundcloud, so I think it's pretty genius, haha. 

Melody-wise, again only piano and nothing else. I made another version of the main melody (in chorus), and that one goes as first one with first new riff. Second new riff starts after that, and plays along the same setting as in original version merging into original riff during chorus. It sounds like original version for about a minute and half, and it ends with a couple of seconds of pure drums/rhythm. Then I introduce third new riff, and piano melodies on the top of it. 

Second bass sound (which started in two thirds of a song in original version) is moved to the beginning, where it plays along a new fast rhythm with the cow-bell sound. That combination creates a sound that is (in my opinion) outside of boundaries of normal/usual techno and I'm pretty proud of it. And, generally, the whole bass line is very well thought on the composition level. So I hope you'll enjoy it.

Sounds I used:
- kick - trap door (first, second, and footsteps)
          - and modern 909 (first kick) - four sounds altogether
- snare - pile driver (electronic)
- hi-hat - modern 808 (electronic)
- bass 1 - massive grime bass (bass) - grimey (cutoff - at 51%)
- bass 2 - pumping out waves (rhythmic) - bold pulse
- piano - grand piano (keyboards)

Floating keys 2

Classic

PLAY 
PLAY PLAY THE GAME
>
YOU CAN CHOOSE TO JUMP ON TRAINS
BUT I REFUSE TO PLAY THE GAME
ALTHOUGH I LOSE, THERE IS NO SHAME
BY STAYING TRUE I’VE MUCH TO GAIN
>
SO YOU THINK I WANT TO BE LIKE YOU
WELL YOU SHOULD KNOW THAT’S FAR FROM TRUE
ALTHOUGH I’M NOT A PERFECT FIT
I WOULD NOT SWAP OR WALK IN YOUR SHOES
>
PLAY PLAY
>
GIVING IN IS THE ORIGINAL SIN
IT SHOULD BE THE LAST TEMPTATION
ON THE LOOKOUT FOR WAYS TO BREAK THE SKIN
TAKE CONTROL THROUGH SATURATION
>
I REFUSE TO PLAY THE GAME
>
COULD SWALLOW YOU WHOLE, THAT INCLUDES THE SOUL
BUT IT LACKS IMAGINATION
TO SLOWLY TIGHTEN THE GRIP
THEY INSERT A DRIP
AND MONITOR THE CHAIN REACTION
>
I REFUSE TO PLAY THE GAME
>
I REFUSE TO PLAY THE GAME
PLAY PLAY

I REFUSE TO PLAY THE GAME voc

Play For Me

Music: Composed, written, mixed, mastered, and performed by: Acoustc

Lyrics: Written, performed, mixed and mastered by The Mysterious Decibel

The brown sounds its own bassline
Breeding Frankenstein
But i've seemed to have crossed the line
Cuz i got a text from the boss
While i'm dropping brown sauce
DROPPIN' BROWN SAUCE

What you doing?
Where you at?
You're on company time
I'm just dropping some sauce is that even a crime!?
Don't you know you gotta slave, don't you know to behave to make your precious dime!

Knock knock 
Who's there?
Open up it's me
You've been in there since half past 3
I'm dropping some sauce do you wanna see?
You're about to be fired on the highest degree!

Couldn't be any hotter than the seat beneath me
Blast beats in the bowl with some Hennessey
Couldn't be any hotter than the rage inside me
That i feel towards you and this company!

Do I really need this? 
I don't need this anymore
I reach down underneath my balls and taint
My hand will become the brush that paints
I rise from the shitter with a vengeful smile
I'll leave my mark, it'll be on file
The knocking won't stop
I think it's time to quit in style

How you gonna fire with a face full of shit!?
How you gonna fire me if I already quit!?
How you gonna fire me with a face full of shit!?
How you gonna fire me if I already quit!?
I'm just gonna fire you with the heat of this hit!
No two week notice just a hand full of shit!
Solidify you died with the scent of a smack
Made your toes lift up and your spine bent back!

Shitty hands, vengeance, Handcuffs and prison cells
I guess that was my final boss but now i shit wherever with no farewells

No farewells
No farewells!

On Company Time

Hercules Heart (2003)

Produced, Rearranged, Mixed and Mastered By Kawa9

Created with Riffusion

Dancing with CHAOS

Frozen In Time

Event

Welcome - It all started when I was 6 and studied musical school on the top of normal school. We learned classical music - notation, scales, chords, etc. Within a couple of years, I got pretty good foundation of music theory, and I kept playing flute for next 5 years. 

But the real fun started at 13, when I purchased my first guitar, and then started composing within a year. I wrote many simple pop songs, punk songs, and some gospel, later on learned to play and compose very complicated riffs, licks, and many solo techniques, eventually landed in death metal band, where I played guitar for 3 years. 
     
Of course, that is a long history now, and I gave up making music at 31. But roughly 11 years after that I came along to own my first Ipad, which happened to have Garageband app. And since then I slowly learn more and more tricks, and have now done over 2 hours of music, which you can hear for free on this page. 
     
Every song is an experiment itself, although I tend to be melodic, upbeat, and various. I'm still using diatonic scales and chords as main channel for composition, just as I learned in school as a little kid. Although some pentatonic scales now and then won't hurt, right? 
     
Here is how I see it about the music. The most basic and effective way to make the magic is the combination of good chord progression and good melody. So basically, brilliant cords, brilliant melody and how much they complement each other - that is the magic. And, of course, the structure that utilizes all that to the max. All the rest is just a gravy, (I mean, "just" a gravy) Don't get me wrong, the gravy can be very beautiful and  enjoyable, and most of my tracks so far are mostly gravy, but the proper meal should contain some meat, Know what I mean? My most "meaty" songs so far are probably Autumn Falls and Hint Of Tribecore. The biggest and dirtiest gravy so far would be probably Tribal Beginnings and Warning Immediate Noise. But you can judge that for yourself. 

Still, my main focus now increasingly becomes a sound modulation, and structures of song, because more I play with that tweaking of sound, more crazy sound I can hear. The goal here is pure magic and beauty distilled into nice 2-6 min. pieces. 
     
Also, a little disclaimer here. I don't do any vocals, mixes, remixes, or live pieces. All should be well thought through, electronic, and freshly new, and original. So enjoy listening and feel free to comment. I appreciate the feedback as it gives me more info and insight.
Peace.

Floating keys 2

Fat beats project