All Roads Lead To Hell - Black Stalyon

Arabic scale

This track was inspired by Middle Eastern and Egyptian music, as well as cinematic scoring techniques. I’ve been experimenting with the Hijaz scale and diving deep into influences like Glass Beams, Hans Zimmer’s Dune soundtrack, and Belarusian folk-fusion artist DiDuLa.

I started this track by playing with four bass lines that became the core of the piece. From there, I built layers with percussion, guitars, and orchestral textures.

This is a milestone track for me because it marks my first time incorporating orchestral elements into my music. Thanks to Spitfire Audio's free BBC Symphony Orchestra VST, I was able to layer violins, violas, basses, and harp to create a more cinematic feel.

If this were a film score, it would belong in an ancient, windswept desert—a world of fate, war, and mystery.

Instruments Used:
World percussion kit (Ableton)
707 drum kit
Black Fender Stratocaster
Semi-hollow Ibanez Soundgear bass guitar
Violins, violas, basses & harp (BBC Symphony Orchestra VST)
Let me know your thoughts!

🎧 Full track available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

Track 7 of 52: Blood & Sand | A Cinematic Fusion Score

This track started as an old idea titled "Whispers," and as soon as I revisited it, I imagined a deep, ambient underwater world. The soundscape feels like floating through Atlantis—serene, mysterious, and illuminated by neon currents.

I’ve been a longtime fan of Lo-fi Girl’s YouTube channel and finally wanted to create something that belongs in that universe—soothing, immersive, and ideal for background listening. This track is designed to flow effortlessly while you work, study, or just relax.

The synth pads were inspired by Daft Punk’s "Something About Us," and I experimented with progressive bass lines to add movement without disrupting the atmosphere.

If this were a film score, it would belong in a dreamlike, futuristic ocean city—where time slows, and everything feels weightless.

Instruments Used:
Ableton stock instruments and effects
Black Fender Stratocaster
Let me know what you think!

🎧 Full track available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

"Neon Tides" - Track 8 of 52 Weeks Later

This track started with an acoustic riff I wrote a while back, and I finally decided to turn it into a full song. I spent two nights figuring out how to properly record acoustic guitar with my AKG P220 condenser mic, and after a lot of trial and error, I recorded five layers of acoustic guitar, one bass track, and a lead guitar layer. Drums were made in Ableton.

The song took on a deeper meaning as I wrote it—reflecting on everything happening in the world right now. From political tensions in the U.S. to the war in Ukraine (where I was born), there’s a lot of uncertainty. But beyond global events, this track is also for anyone struggling personally. I hope it offers even a small sense of hope and positivity.

If this were a film score, it would fit a quiet, introspective moment—when the world feels overwhelming, but hope still lingers.

Instruments Used:
Yamaha FG800J Acoustic Guitar
Fender Black Stratocaster
Ibanez Soundgear Semi-Hollow Bass Guitar
AKG P220 Condenser Mic
Ableton drums
Let me know what you think!

🎧 Full track available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

Hashtags:
#52WeeksLater #IHopeWereOkay #AcousticMusic #HopefulMelodies #MusicForUncertainTimes

Track 9 of 52: I Hope We’re Okay | A Song for Uncertain Times

This track was inspired by seeing Dom Dolla live at Madison Square Garden—an unforgettable experience that left me determined to create a progressive house track of my own.

While writing this, I couldn’t help but feel nostalgic for Burning Man—a place that shaped so much of who I am creatively. It’s been over a decade since I’ve been back, but I still carry those memories with me. Burning Man was where I learned so much about myself—and where I met my wife. I like to think this track is my quiet homage to that time and place.

I studied progressive house techniques through Ethan Davis’s YouTube channel and quickly realized how much I had to learn about automation—building drops, tension, and release. It was a whole new skill set, but I loved every second of it.

"Pulse & Flow" is my take on progressive house—a blend of deep bass, evolving arpeggios, and energetic drum patterns. I wanted this track to feel like a steady build of energy that keeps flowing without losing momentum.

Would love to hear your thoughts!

🎧 Full track + Visualizer available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

Track 10 of 52 Pulse & Flow - Progressive House & Electronic Music

This track started with two inspirations:

1️⃣ I've been listening to a ton of Trip-hop lately—Massive Attack, Portishead, and even some Aphex Twin. I wanted to capture that dark, atmospheric vibe.

2️⃣ My wife and I are hooked on Severance, and I’ve been fascinated by how its score uses piano as a haunting, evolving element. That pushed me to sit down at the piano and brush off some rust, just to reconnect with playing with both hands.

The track itself feels like a starting point—it’s one musical motif that I think has more to explore if I had more than 7 hours this week.

If this were a soundtrack, I imagine it scoring a mysterious, unsettling moment—like a walk down a dimly lit corridor where something just doesn’t feel right.

Would love to hear your thoughts!

🎧 Full track available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

Track 11 of 52: Scarlet Patterns | Trip-hop Inspired, Piano-Driven Soundscape

This track began with a simple moment — I was humming a cello melody in the shower, and I rushed straight to my studio to record it. From there, I started building a tribal beat that felt natural with the cello’s tone.

I’ve been listening to a lot of game and film composers lately — especially Sascha Dikiciyan, Marcin Przybyłowicz, John Murphy, and Jeremy Soule — and that influence definitely seeped into this one (probably thanks to all the Skyrim I've been playing lately).

I originally planned to add flutes, violas, and more orchestral layers, but nothing quite fit. In the end, the cellos remained the only classical instrument, while everything else became a mix of original instrumentation and effects that felt right in the moment.

Now that I’ve listened back a few times, I feel like the ending introduces a whole new musical direction — something I’d love to explore next year or after the project wraps.

If this were a soundtrack, I imagine it scoring a mysterious, unsettling moment—like a lone traveler walking through a desolate world, with only distant echoes of the past behind them.

Would love to hear your thoughts!

🎧 Full track available now.

Disclaimer: Visual representation of the song was created by AI; all the music was created by a human.

Track 12 of 52: Just We Remain | Tribal-Inspired, Post-Apocalyptic Soundscape

"Inflection Point" - Track 13 of 52 Weeks Later

This track is about the high you get when you realize you’ve just met someone truly special. When every moment with them feels like the start of something life-altering.

It started with a loop from my Black Strat, which I built the song around — but I kept it hidden until right before the solo to give it meaning.

I also wrote my most layered string arrangement yet — four stereo parts, carefully shaped — and spent time shaping the atmosphere with delay and reverb.

Heavily influenced by Radiohead’s Kid A and Pink Floyd’s Marooned, with some personal storytelling stitched in.

If this were a score, it would play during the early days of falling in love — where time slows down, and every second feels vibrant and new.



Track 13 of 52: Inflection Point | The Sound of Falling in Love for the First Time

Fast-paced, synth-heavy, and futuristic.

This track was inspired by my love for Röyksopp, my fascination with data moving through wires, and the recent news of Nine Inch Nails scoring Tron: Ares — it got me thinking: what would my score sound like for a film like that?

Built using Mini Moog and Wurlitzer VSTs, this piece is driven by arpeggios, bass, and automation. Think cyberpunk, glowing circuitry, and pulsing neon.

🎛️ All instruments created in Ableton Live.

Track 14 of 52: Synthetic Rivers | Futuristic, Bass-Driven Electronic Track

This is the longest piece of music I’ve ever written — and I’m really proud of it.
It started with a riff I came up with on my Yamaha acoustic guitar a few summers ago while hanging out with family. Recorded in E minor, this was also the first time I used a capo in a track.

The song shifts keys halfway through to reflect inner transformation — moving from uncertainty to confidence.

I also wrote and recorded full lyrics and vocals for the first time, though I didn’t feel ready to release them. Pushing myself creatively, and it feels good.

🎸 Lead solo: Black Strat
🎸 Bass: Ibanez
🎧 Inspired by Opeth, Anekdoten, and Airbag

Track 15 of 52: Becoming | Acoustic Roots, Emotional Growth, and Sonic Shift

A layered, arpeggio-driven exploration of delay, reverb, and symmetry.
This track has no traditional bassline — just a modulating synth bass that evolves as the song unfolds. Notes bounce, echo, and interlock like a fractal pattern, constantly shifting but always in rhythm.

I recorded delayed lead guitar parts using my Black Stratocaster, orbiting the synth elements and helping glue the layers together. All additional instruments and automation were built in Ableton.

🎛 If this were a score, it would live inside a digital dream — a sonic map of data and memory.

Track 16 of 52: Fractal Echoes | Arpeggios, Delay, and Modulated Energy

Quantum Peak was an alternative rock band that formed in 2009. Influenced by music from the 60s and 70s, Quantum Peak combines modern audio technology with the raw analog sound of the Vinyl Record era. 

We were about 40% done writing the bulk of the work but never finished it. All that remains is the one song that we finally released sometime in 2010.

Written & Produced by Quantum Peak.

Quantum Peak - Brainstorm

Hip Hop Beat With Arpeggio In D

Exploring the infinite abyss of spiritualism and growth through fatherhood, creativity, and sound. Each track is a reflection of personal evolution—a journey of emotion, exploration, and connection.

Fragmented Reflections

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