simply and sincere nice voice, deep feeling

Excellent track. Catchy melody, crispy fresh mood, nice vocals and so good lyrics.

I really love this music ok 👌🏽 mood good

I like the the vibe on this, really interesting guitar and bass work. I like it!

This is a cool track, particularly the guitar and rhythm section. Like the lyrics.

I love the stereo width on the vocals. very unique sound!

good vibe, kinda a little bit bowie but more folky

What Is This?  SoundCloud Pre-release (released to rest of streaming on March 26, 21)
• Tim Graves: guitar, synths, programming, vocals
• Brad Palmer: drums
• Ryan Anderson: bass
• Charlie Blu: vocals
• Chad Bell: trumpet
• Recorded in Oakland, Akron, Chicago and Nashville 
• Mastered by Stephen Marcussen

What is This

What Is This?

Written: 2016-17
Duration: ca. 20'
Instrumentation: bass-baritone and piano
Performed by American Modern Ensemble: David Neal, bass-baritone, Geoffrey Burleson, piano.
Publisher: Bill Holab Music: 
http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2763
View Score: https://issuu.com/robertpaterson/docs/paterson_night_songs__score-perusal
For More Information: https://robertpaterson.com/night-songs

MOVEMENTS
I. City Dusk (Text by F. Scott Fitzgerald)
II. Lullaby (Text by W. H. Auden)
III. Birds Appearing in a Dream (Text by Michael Collier)
IV. Insomnia (Text by Dana Gioia)
V. Flying at Night (Text by Ted Kooser)

PROGRAM NOTE
Night Songs is a song cycle consisting of settings of poems by different poets that reflect on various aspects of nighttime. The cycle is structured as a somewhat linear timeline, as if the songs are meditations by a single individual.

The cycle begins with a setting of City Dusk by F. Scott Fitzgerald, is a nostalgic exploration of the memories someone might have as he or she sits in the park at dusk. This person is in the park as the lights go down, and begins to feel sad, but remembers a time when this place wasn’t dark and lonely, but filled with lights, music, and people. He also remembers one specific person, a woman with blonde hair who loved to dance, who in this case, I interpreted as my wife Victoria. The second song, Lullaby, is a setting of the poem of the same name by W. H. Auden, and is a constructed as a love song sung to someone who is sleeping, and is about the inevitability of death, and looking after someone you love. In the third song, a setting of Birds Appearing in a Dream by Michael Collier, I use bird-like motivic patterns to provide structure for the colorful, figurative descriptions throughout Collier's text. The fourth song is a setting of Insomnia by Dana Gioia. In this poem, the narrator is full of regret, and finally realizes the value of people over possessions. The final song, a setting of Flying at Night by Ted Kooser, is a poem that is all at once about what the title suggests, but also about how so much of what we experience is interconnected and tied together by light.

Night Songs was commissioned by David Neal and made possible, in part, with funding from The Community Arts Partnership of Tompkins County.

Night Songs - V. Flying at Night (Text by Ted Kooser)

Crimson Earth for Symphonic Band and Solo Violin
Duration: ca. 14'
Publisher: Bill Holab Music. http://www.billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&zenid=3699359cefb6e31676ed8d068a02c3c4&keyword=crimson+earth
View Score: https://issuu.com/robertpaterson/docs/crimson_earth-fs-color_cover-bound
For More Information: https://robertpaterson.com/crimson-earth 

PROGRAM NOTES
In Crimson Earth, my primary concerns are the exploration of exotic sonorities and textures, the spatial placement of instrumental groups and the process of moving musicians throughout the hall to create interesting textural juxtapositions.

Although no specific programmatic associations are intended in Crimson Earth, two specific references were influential: Pieter Bruegel the Elder’s gruesomely detailed painting The Triumph of Death (c. 1562), and the following short verse I came across in a book of quotations from the Old Testament (Job, Proverbs, 24):

"He swalloweth the ground with fierceness and rage: neither believeth he that it is the sound of the trumpet. He saith among the trumpets, Ha, ha; and he smelleth the battle afar off, the thunder of the captains, and the shouting."

When I was a child, my father introduced me to Breugel’s work and to the work of other imaginative painters from the 15th and 16th centuries, such as Hieronymus Bosch. I think what originally inspired me the most about this particular work by Breugel was how something so morbid and seemingly prophetic could have been painted hundreds of years ago, before some of the worst wars occurred in the history of the world. Of course, I could not help but think to myself, what would a battle as horrifying as the one in Bruegel’s painting sound like?

Perhaps more importantly, what sounds do we associate with battles? The sounds that came to my mind for this piece were drums, trumpets, sirens and explosions, all represented in this highly programmatic work. The combination of winds, brass and percussion seemed to be the perfect vehicle to capture the horrific sounds and gut-turning feelings one might experience during a battle. The only other sounds I needed were instrumental voices meant to represent the sounds of both ignorance and innocence. The sound of a solo violin and a solo flute seemed most appropriate, and these instruments end up framing the entire work.

In this work, I attempt to depict a battle in three connected scenes: armies emerging from far away, an ensuing destructive, chaotic battle and the armies’ final departure. Three marching ?battalions? of military drum and trumpet duos represent the armies. These duos gradually convene toward the stage; the stage represents a battlefield. Once there, a battle begins in which a mostly non-pitched percussion section is highlighted through the use of battle-like sounds. As previously mentioned, two "solos" frame the three middle sections: one on a violin and the other as a duo with flute and violin. (The option of playing the violin part on an oboe is given in the score.) The whole work is essentially in a loose arch form.

The title, Crimson Earth, refers to the bloody color of the earth after battle and the power and heroism people often associate with the color red. However, although many cultures have glorified wars and battles, this is not my goal in this work. Crimson Earth represents the profound sadness that wars ultimately cause, but this work also tries to represent hope.

Part I

• (Violin Solo)
• Melting Chimes of Starlight
• Remembrance of Long Ago Idyllic Youth
• Mini Trumpet Bats, Descending
• Rising Darkness
• Brief Sky Opening, Cry for Absolution

Part II

• Calm before the Storm: Glimpses of Despair
• Three Battalions approach from Afar
• War Sirens
• Battle
• Swells of Sadness
• Three Battalions Retreat
• Ashen Rainbows

Part III

• Memorial to the Sacrificial Dead
• Deserts of Ruin
• Breaths of The Everlasting Rising Phoenix
• Peace Wish

Crimson Earth (for Symphonic Band)

Sonata No. 1 for Violin and Piano
Duration: 20'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1107
Online Perusal Score: https://issuu.com/robertpaterson/docs/sonata.i-vln.pno.-fs-bound-perusal
For More Information: https://robertpaterson.com/sonata-no-1-for-violin-and-piano

PROGRAM NOTE (SHORT VERSION FOR PROGRAMS)
The first movement, Adagio – allegro con uno trotto – adagio begins and ends in a somewhat Romantic style, but with a twist: the end of the movement sounds like a record scratch, as if what you just heard is a track from an old vinyl LP. I became fascinated with the sound of record scratches when I noticed them in many commercials, although this is somewhat ironic since no one really plays records anymore.

The imaginary title of the second movement, Schizando (derived from ‘schizophrenia’) is a word I came up with to describe a musical style centered on fast, abrupt changes. This movement also reveals an obsession with sequences: sequence-like chord patterns decay by gradually becoming more dissonant as they evolve. These sequential sections alternate with “siesta daydream” sections, akin to channel surfing with a remote control. I was recently on the road for two months with my wife Victoria while she was touring, so on a personal level, traveling on the road to a different hotel every week probably influenced how I wrote this movement. We were never in the same place for very long and many of the hotels looked the same. Our lives were not that dramatic. I started craving drama, particularly in the music I listened to, and this probably spilled over into how I wrote this movement.

The third movement, Largo is slow and broad and inspired by the phrase "the weight of the past." There are time markers that delineate certain sections, reminiscent of the ticking of a clock. There are a number of composers whose works influenced me in this movement, such as the later works of Arvo Pärt and the slow movements of some of Beethoven’s sonatas. I was also pre-occupied with wanting to write a movement that contained mostly “open” notes, i.e. half notes, whole notes and double whole notes.

My main influences for the last movement, Allegro con moto are the early formal ideas of Igor Stravinsky, folk-style fiddle playing and jazz. There are a few false starts when piano chords come crashing down and a few somewhat humorous sections. Many of the themes from the previous three movements reappear in this movement.

As with many of my earlier works, my goal was to create a four-movement work in which all of the movements are quite different from each other. In a sense, I view this multi-stylistic approach as the result of wanting to embrace a variety of tools. As a result, as I wrote this I did not have an allegiance to any one particular style, as each one hopefully elicits a certain, distinctive emotional response.

Joy: Music for Violin and Piano

Sonata No. 1 for Violin and Piano - I. Adagio, Allegro Con Uno Trotto, Adagio

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

Winter Songs (for Bass-Baritone and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. Icicles filled the long window (Wallace Stevens)
II. Dark Day, Warm and Windy (A. R. Ammons)
III. The Snow Man (Wallace Stevens)
IV. Boy at The Window (Richard Wilbur)
V. Old Story (Robert Creeley)
VI. Neither Snow (Billy Collins)

Performers: American Modern Ensemble; David Neal, Bass-Baritone
For More Information: https://robertpaterson.com/winter-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1357
Online Perusal Score: https://issuu.com/robertpaterson/docs/winter_songs_perusal_score


PROGRAM NOTES
The idea for Winter Songs occurred to me after I wrote a short song based on the sixth poem from Thirteen Ways of Looking at a Blackbird by Wallace Stevens for a group composition project at Cornell University. The original idea was to have each student in the department set a different poem in this work, culminating in an evening long song cycle. There are many compelling settings ofThirteen Ways, so instead of trying to contribute yet another, I decided to compose a song cycle using winter-themed poems by a variety of poets. David Neal, the bass-baritone who sang my initial song, Icicles Filled the Long Window, liked the idea so much that he asked me for a complete cycle. I spent months collecting and reading as many poems about winter as I could find. Winter-themed poems seem to fall into two categories: those that are playful and fun, and those that are quite serious. I chose to set six serious poems, including another one by Wallace Stevens, and one each by Robert Creeley, Richard Wilbur, A.R. Ammons and Billy Collins.

Winter Songs was commissioned by David Neal and The Arts at Grace through the New York State Music Fund and was premiered by David Neal and the Society for New Music in April 2008.

ARTISTS:
Robert Paterson, Conductor
'David Neal, bass-baritone
Sato Moughalian, flute
Benjamin Fingland, clarinet
Matthew Ward, percussion
Blair McMillen, piano
Robin Zeh, violin
Robert Burkhart, cello

The Four Seasons

Winter Songs - VI. Neither Snow (Text by Billy Collins)

I wanted to make a super chill Lo-Fi track, but then I got carried away and it became more of a song. In any case, it was definitely a different experience making something so chill and groove.

As always, I had tons of fun playing around with this one, so I hope you enjoy it!

Cheers!

Here I Am Again

#micahthunder #thundertribe #visualizer

Official Single "Here I Am" by Micah Thunder. Produced by @Edgar Wonder 
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Lyrics:
Do not live for tomorrow
Today is gone
Dead and gone
My soul lingers on

Searching for a reason
why the days will pass
good times will not last
life goes by so fast

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

I’m searching
For purpose
Can’t find my way
Don’t know if I’m worth it

It’s so dark
I’m so tired
Searching for a spark of life


Don’t Worry
You’re Perfect
Coming up so fast
It makes me nervous

Let’s dance
let’s smile
a miracle is worth my time

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends
 
how this grows
how this goes
How it ends

I can be your man
I’ll do all I can
help me understand 
give you all I am
You can be my woman
Help you grow
Show me what lovers know
You won’t walk alone

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

© 2021, Micah Thunder, All Rights Reserved

HOW IT ENDS - MICAH THUNDER

The whole live
Your destination is not to die
The whole live
Your destination is simple to live

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

The whole live
Your destination is not to walk alone
The whole live
Your destination is to keep your friends 

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

You will never walk alone never

The whole live
Your destination is not to give up
The whole live
Your destination is to fight 

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

The whole live
Your destination is not to do things you hate
The whole live
Your destination is to do things you love

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

You will never walk alone never

Destination

No Fear

From third album - "TOO BLUE"
available where all digital music is sold

Too Blue

All The Best

Moment

Hey, my name is Markus. In the past I've made Metal, Punk and Heavy Rock with my friends in my garage. I played the bass guitar and sometimes vocals. But that was way back (in the 90s). Now I produce my own songs at home and upload them. The music styles are from Metal, Punk, Rock to House and Dance, just everything I like. I would be happy if my songs are heard and positive feedback comes. I am also interested in cooperation and publish acapellas at looperman.com

Destination

MP Project

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