Ok, but Morgue Storm is a pretty good band name.

Ok i keep coming back to this kick-ass guitar

well now i know how to PLAY this kick ass guitar

I have no idea how the time signature(s) in this work at all but I'm all for it

Artwork by Sir Grogol https://twitter.com/Oklahome_
Part of a weekly grind challenge: Randomly generate a band name, pick a genre, and make album art / songs for the band

Samples used:

https://www.looperman.com/loops/detail/257110/trap-metal-guitar-loop-hard-live-guitar-free-140bpm-heavy-metal-electric-guitar-loop

https://www.looperman.com/loops/detail/214158/merenguetwitch-open-135bpm-blues-electric-guitar-loop

Grind 9, Day 58: SWAMP KING - MORGUE STORM

Artwork by Sir Grogol https://twitter.com/Oklahome_
Part of a weekly grind challenge: Randomly generate a band name, pick a genre, and make album art / songs for the band

Grind 9, Day 58: TORSO HARVEST - MORGUE STORM

Final Mile

MONTAGEM EGÍTÁRES RZ (SUPER SLOWED + REVERB)

I do not own any of this.
all rights go to Vlambeer. 

Kings And Queens Of The Wasteland (Nuclear Throne end credits)

LISA: The Faithful OST: Good Ol' .42 (ft. Vuuhlkreithaur)

Pineyapple Shores

Rolling Forwards

All composed, arranged, and produced by me.

Battle With a Big Boi

https://power46.bandcamp.com/album/new-pripyat

Made in roughly 26 hours, but over the course of more than half a year. The person who started this track isn't the person who finished it. Thus far, this is without exaggeration, the most ambitious, most impressive piece of music I've ever created.

This is a track from an upcoming album which I've teased before. Realising that the album is a long way off, I decided to show off a single for it to ease the wait. Maybe I'll show off more singles as time progresses! We'll have to wait and see.

The album revolves around two concepts:
1. Different environments from around the world. In the case of New Pripyat, this refers to towns, cities and rural areas abandoned after nuclear disasters.
2. Variable mixing. Quickly becoming a staple of interactive media, variable mixing involves loops of music being mixed according to interaction from the audience. When arranged linearly, say, for an album, typically variably mixed music will be structured according to how one loop of music fades into another. This is kind of the opposite: This entire track was written as a linear piece of music, sorted into loops like an imitation of how variable mixing would work.

The original arpeggiator motifs occurred to me after listening to a bunch of Fort Romeau's music, and I knew I had to write it down right away. This section starts at 2:33, and combined with the distant-sounding guitar section which precedes it, contrasts the solemn, desolate loneliness of the area, and the mysterious, electronic side. 

3:48 is the first sign of hostility the irradiated landscape shows, and it's aggressive, powerful, and ever-so-slightly sad. It's a mourning of the destruction caused by this power, as much as it is a display of reverence.

5:32 is what I consider the beginning of Part 2. It's not a very long part, but it's important. It's a moment of majesty and of revelation. I consider this the theme of the reactor core, the epicentre of the disaster, which had the sheer power to provide plentifully for the people it eventually drove away. It is the point where this force originated, and it is the point at which the journey must end.

6:30 marks the beginning of Part 3. This is the piece's climax and its ending. The theme of this part begins with just a string ensemble, to give it that scale, depth and emotional edge, but to leave it timbrally somewhat empty too. The rest of the instrumentation doesn't come in and take the spotlight until the drums kick in, and from there, the piece ascends to its climax.

8:12 was always how this track was going to end. No matter what direction the piece traveled in, I somehow knew that this was going to be its ending. It's supposed to be a point where New Pripyat seems to have reached its peak, only to be pushed just a bit further by that last chord.

9:03 is an obvious homage to Kraftwerk's 1975 version of their track, Radioactivity. I liked the idea of this being quietly played off to one side by an old, worn down record player while something climactic happens off in another room, or perhaps it's just a feeling of winding down after resolving a high-stakes crisis.

New Pripyat (OUT NOW)

Speak of Nothing

ALL TRACKS SUBJECT TO CHANGE

Work in progress tracks and experiments 

Main account: @baseline7
Grind 1: December 22 - January 9 (2018 - 2019)
Grind 2: March 15 - April 1 (2019)
Grind 3: June 15 - August 31 (2019)
Grind 4: December 17 - January 6 (2019 - 2020)
Grind 5: March 12 - April 5 (2020)
Grind 6: June 15 - September 1 (2020)
Grind 7: December 17 - January 6 (2020 - 2021)
Grind 8: March 19th - April 12th (2021)
Grind 9: June 11th - September 1st (2021)
Grind 10: December 16th - January 6th (2021 - 2022)
Grind 11: March 16th - April 12th (2022)
Grind 12: June 11th - September 1st (2022)
Grind 13: December 16th - January 6th (2022 - 2023)
Grind 14: March 16th - April 12th (2023)
Grind 15: June 11th - September 1st (2023)
Grind 16: December 16th - January 6th (2023 - 2024)
Grind 17: March 16th - April 21st (2024)
Grind 18: June 11th - September 1st (2024)

Grind 9, Day 58: SWAMP KING - MORGUE STORM

Noisemaker's Grind Station

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