FNB's debut album:
 This is the Story of Lavender Jones, and the lessons he endured learning about the Funk.

Life and Times Of Lavender Jones

Funky Lavender

It is a track about making good what's been made wrong. It is about try to believe in yourself and others even though it can be hard sometimes. And to be true to yourself and what is right for you no matter what others belive or wants you to think.

Redemption

One thing I used to love doing is improvising on an instrument. This is one of the results of that.

Improvisation No. 4

This year was again challenging for all of us and with baby steps I think the pandemic will end shortly. One of the saddest things that happened lately was the fact that on Mother's Day I couldn't be close to my mom and grandmother and couldn't offer them flowers as I usually do. This track was made with my mom, grandmother and aunt (yes big family) in my mind. So this is for you darlings and thank you for everything.

the bed you made

Original song written in 2020 and recorded at Dusty Shed Studios in Wiltshire UK in Feb / March 2021

I Won't Regret

mastering love really isn't easy (sorry)

T.V. Children, Pt. 1

Summer Songs (for Soprano and Chamber Ensemble)
Duration: ca. 24'

MOVEMENTS:
I. Summer Music (May Sarton)
II. The KIte (Anne Sexton)
III. Childhood (Sharan Strange)
IV. Moths (Jennifer O'Grady)
V. Summer Night, Riverside (Sara Teasdale)

Performers: American Modern Ensemble; Marnie Breckenridge, Soprano
For More Information: https://robertpaterson.com/summer-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2333
Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_summer_songs__score-chambe
Also available as a version for soprano and piano: https://robertpaterson.com/summer-songs-piano-vocal-version

PROGRAM NOTE
There is a seemingly endless supply of poems about summer. After writing Winter Songs for bass-baritone and chamber ensemble or piano, I realized that I had inadvertently only set poems by male poets, so I decided to restrict myself to female poets for this cycle. I am well-aware that this could emphasize a potential cliché: woman can be viewed as more "summery" and men more "wintery,” but more than anything, this is merely a way to offer a course correction, so to speak, or even a yin and yang, as well as a way to create a balance between these two works.

Summer Songs begins with a setting of Summer Music by May Sarton, a light, happy, playfully musical poem filled with allusions to nature. The second movement is a setting of The Kite by Anne Sexton, a poem about honoring and enjoying the moment, and the simple things in life such as flying kites with children. Childhood, the third movement, is a setting of a poem by Sharan Strange about children capturing fireflies. The fourth movement, Moths, is a setting of a poem by Jennifer O’Grady about moths, but relating to late night conversation on a front porch. The cycle ends with a setting of Summer Night, Riverside, by Sara Teasdale, a passionate, warm, optimistic poem that muses on the timelessness of summer.

Summer Songs was commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble. Special thanks to Marnie Breckenridge for her assistance in selecting the poems for this cycle.

Commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble

ARTISTS
Robert Paterson, Conductor
Marnie Breckenridge, soprano
Sato Moughalian, flute
Pascal Archer, clarinet
Matthew Ward, percussion
Geoffrey Burleson, piano
Esther Noh, violin
Dave Eggar, cello

The Four Seasons

Summer Songs - IV. Moths (Text: Jennifer O'Grady)

He lives
In Chinatown
Women have
no chance.
He kills them 
in the night 
cause he is 
the king of pain
 
The king of pain
Is in the town   
He kills the women
Without mercy

the police have no idea 
who the killer is, 
they are completely in the dark 
cause they have no suspect
he feels secure 
and has no fear, 
he follows his instincts
cause he is 
the king of pain

The king of pain
Is in the town   
He kills the women
Without mercy

one day 
he makes a mistake.
Witnesses recognized him 
and immediately 
reported him 
to the police.
they tried to arrest him, 
but he got away
to his next victim
cause he is 
the king of pain

The king of pain
Is in the town   
He kills the women
Without mercy



The king of pain
Is in the town   
The king of pain
Is in the town   
The king of pain
Is in the town   
The king of pain
Is in the town   

He shows no mercy
The king of pain
He shows no mercy
The king of pain

The King of Pain

The King Of Pain

Performed by: 
Carolyn Stallard
Kendall Rhymer
Anthony McIntosh
Max Meyer

Composed for So Percussion Summer Institute 2020

Also check out the video made for this: https://www.youtube.com/watch?v=ZWcchWX_1JE&list=PLmgzc19LPQ1aMEpfM9C-dPJ5Tst99Itjj&index=9

Home, Safe?, Home

Karl Kim is a man of many musical hats (perhaps too many for his own good, but that's a discussion for another time). 

​​His musical journey started off with piano lessons at age six, and from there he has picked up many other instruments over the years, including but not limited to: violin, guitar, trombone, and various percussion instruments. Karl was also just as quick to branch out to styles of music other than classical; most significant of these styles is rock and metal (especially of the progressive variety), but jazz, EDM, experimental music, and folk music from various parts of the world have also played a role in shaping him as a musician. 

As a concert music composer, these musical experiences, especially those as a metal guitarist, are what make up the voice that he projects into his compositions, especially in recent times. Pieces like "The Jury is Sleepless", "Without a Minute to Spare", and "So Cold, So Dark, So Chaotic" exist at a crossroads between music for the concert hall and music for the mosh pit. His music has been performed by ensembles such as the Rhythm Method, S.E.M., and Bearthoven, and he holds a B.M. in Music Theory and Composition from New York University. 

"Karl with a K" is an alter ego of Karl Kim. Karl with a K, while having the same musical background as Karl Kim, draws upon a fascination for rhythm game music that started with Dance Dance Revolution at the age of eight, and grew considerably to encompass games including, but not limited to, Sound Voltex, In the Groove, beatmania IIDX, Voez, and Arcaea. Karl with a K brings his background in metal and 20th century classical music into rhythm game original tracks such as "!CAUTION! small but deadly", "BELLUM", and "rudimentary methods of overkill", which can be characterized by plenty of guitars, unusual rhythms, and sometimes non-instruments being used as instruments. Much of his output as Karl with a K is written for the purposes of Stepmania simfile creation (though as of BMS of Fighters: EighTeen's "0verfl0w_err0r" this is no longer exclusively the case).

Karl Kim currently resides in Bloomington, Indiana where he is pursuing an M.M. in Music Scoring for Visual Media at the Jacobs School of Music at Indiana University. Karl with a K can be seen lurking around the internet (especially specific Discord servers), occasionally not being above a good meme from time to time. In addition, Karl with a K is working on his first project as a game developer, a typing meets rhythm gaming fusion titled "glyph;".