It's coming in over the sub-etha radio, let me adjust the frequencies

A track from my new album, Immerse.  It's the soundtrack for The Double Fine Adventure, a documentary about the development of "Broken Age", a game by Double Fine Productions.

Get the rest of the album on my Bandcamp page: http://lifeformed.bandcamp.com/album/immerse

Immerse

Breadtime

Buy on Bandcamp

Get Init for free or name your price from Bandcamp. 'Buy' link above.

Init

1.LOOM
2.Prologue
3.Pure Jam
4.Light in darkness
5.Ballet
6.Camouflage
7.Stairs
8.Mass
9.Neue Tanz
10.Happy End
11.Music Plans
12.Seoul Music
13.Unknown Instrumental
14.Cue
15.Key
16.Taiso
＝encore＝
17.Technopolis
18.Rydeen
19.Cosumic Surfin'
20.Epilogue

YMO Complete Winter Live 1981 (81.12.23)

Atmospheric DNB remix of the main theme from "Lara Croft and the Temple of Osiris", originally composed by my good friend Wilbert Roget, II. I highly recommend checking out the full soundtrack, which has been nominated for several awards and will surely win at least a few. It's AMAZING.

zircon sites:
BANDCAMP: http://zirconstudios.bandcamp.com/
OFFICIAL: http://zirconmusic.com/
TWITTER: http://twitter.com/zirconST
FACEBOOK: http://facebook.com/zirconmusic
YOUTUBE: http://youtube.com/zirconST

"Rise of Pharaoh" (Remix of Lara Croft and the Temple of Osiris)

Tess & Tel - Anywhere

Story behind the song: 
“Regardless where you want to be, every river meets the sea.
When life reflects back your fear, remember you can go anywhere.”

Follow the official Tess & Tel social media pages to keep up to date with our latest releases ▼

SPOTIFY: play.spotify.com/artist/2l5FgEDLMzBOgEFG3NVVdc 
YOUTUBE: www.youtube.com/TessandTel  
SOUNDCLOUD: @Tess-and-Tel

TWITTER: www.twitter.com/TessandTel 
FACEBOOK: www.facebook.com/tessandtel 
GOOGLE PLUS: www.google.com/+TessandTel

Anywhere

Occasionally, I'll think of an old track from my scene days that had a good idea, but the execution was just too sloppy for the song to work. This song is the most glaring example; the drums were stuttery and un-groovy, the "zomg jazzy" chords just didn't work, and the song was WAY too repetitive.

As usual, the mindset for me is "if I made this song today, how would I do it?" Well, nailing the groove was top priority, so I cleaned up the kick rhythm to the point where the bass could carry the heavy load. I briefly considered re-doing the brass with proper samples, but that is A) time-consuming and B) kinda ignores the tracker roots of the song. So I whipped up a "brass-like" patch in Harmor that worked quite well. Gotta love them swells =)

Finally, it was just a case of listening to the song over and over until one part stuck out to me as annoying, and trying to read that "allergic reaction" and make something that fit. So the post-solo jam part was born, and I think it adds the perfect apogee moment that justifies a six-minute track.

One note on the jazzy chord progressions: I have ABSOLUTELY no idea what I'm doing. In fact, I don't even know what chords they are, I just stack shit up until it sounds like jazz. This, I feel, is at the core of how this song was written back in 1995.

Original XM: https://www.scenemusic.net/demovibes/song/7000/

Downtown Cab

This is a collection of music created over the course of three years while in music school. Thank you to everyone who has ever used my music in their own projects, shared it with their friends, listened to it, or donated to keep me in school.

High quality audio versions for sale at: http://store.professorkliq.com

Album Artwork by Sam Kiss - sickmass.tumblr.com

Lift (Always Dewaele)

The Lick

https://cryochamber.bandcamp.com/album/the-foundations-of-ruin

Dead Melodies is back with his second album on Cryo Chamber, The Foundations of Ruin. Following on from his last album, Legends of the Wood we return to the isle of mist and dig deeper into the narrative. 

"The wrought iron gate creaks open to the overgrown driveway. Up ahead, flickers of lightning make out the hazy silhouette of a large house veiled in a dense fog. Shelter! Finally, somewhere to rest your head after that terrifying ordeal in the wood. 

The house, a ruinous crumbling remnant of better days stands lonesome in the unruly grounds; like a keeper bestowed with time itself. An ornate wooden door hangs broken on its hinge, the windows cracked and vines creep wildly from every crevice like tendrils from the netherworld. Something definitely feels wrong here, but with hours till dawn and the relentless storm wailing through the surrounding trees, the will to survive the night defeats all reason to fear this shady forgotten sanctuary. 

Stepping inside the once stately ruin, the great hall teems with decay and an age of sedimentary dust covers every surface; any remnants of life that once knew this place are long gone. Doors and stairwells stem off in all directions. With a creaking silence and a deathly stillness consuming the air, you contemplate which way to go. But then, a noise… is someone there? The temperature drops and a familiar chill runs down your spine…." 

Recommended for fans of soundtrack like experiences and cinematic dark ambient.

The Foundations of Ruin

Bandcamp

Dead Melodies - A Seduction of Malice

Experimental Synth Works

Intonent Hodie

The Disting mkIV plays a 2 hour sample of the Shipping Forecast from BBC Radio.

One of Pam’s channels triggers the sample to start playing again, while another channel, attenuated by Maths, moves the play head around randomly. So each trigger starts the sample at a different point.

Then the audio goes into the Magneto with the dry at 0 and only one play head active. The tape effects (low cut, tape age, crinkle, wow & flutter) and reverb are all doing something, only about 20% reverb though. So the sample sounds like an old, worn out tape.

Repeats on the Magneto is modulated by the Batumi so sometimes you get no repeats, sometimes a few, sometimes a lot.

Then the processed audio goes into the Data Bender with Bend and Break turned on and modulated by the Batumi.

The Data Bender’s Mix knob is modulated by the Batumi so sometimes it’s not doing anything, sometimes it’s doing a little, sometimes a lot!

FINALLY the signal goes into the Supercell (expanded Clouds) in SPECTRAL MADNESS mode which no one pretends they understand. It is HEAVILY moduled by Pam’s and it’s Mix knob is also being modulated by an LFO (from the Doepfer A-143 because I ran out of outputs on the Batumi). 

With the effect that the audio from the Disting is sometimes very very heavily processed, sometimes all the mix knobs are all the way down and you just hear the Magneto’s tape effects processing the raw audio.

The synthwash pad under it all is the ODESSA with its Bank select and Partials being modulated by the Doepfer and its 1v/Oct getting pushed around by Chance’s discreet output. So the pitch changes every once in a while (not too much, the attenuator on Chance is at like 20%) and the result goes into the Desmodus Versio which I’ve yet to read the manual on so I’m not even sure what all it’s knobs do, I just fiddled with it until it sounded good.

Good. Occasionally Poor

Matt Colville

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