Text with Accompaniment

Dance track where I sing about how much I love microtones. This was performed at my senior composition recital, too. I also played some fake instruments for comic effect during the little interludes of the song.

The lyrics:

(Intro)

I dance and sing to the beat of a drum
Ignoring its sum
With the throng

No time to find the deeper meaning
I’m busy feeling
Hyped for each song

Nothing’s new, tonality’s dead,
Or is it alive? I haven’t checked, for
I don’t hum any serial tunes, 
And theory class abandons its roots.

Only one sound provides that rush
Tuning! Gives me tools, too much 
Resurrecting the new in music here!
Tradition broken, true final frontier!

Its spectrum causes the ear to flinch!
It actually emancipates dissonance and pitch!
Nothing else does that quite like this!

(Interlude in 11-EDO)

Xenharmonics are aplenty
Tuning! Gives me tools many  
Finding the keys to music theory’s youth!
Eclectic, yet it holds to the crucial…
Tonic.

Its beauty causes the ear to stand!
Starving on this dissonance now seems bold and grand!
Nothing else does this throughout the land!

I dance and sing to the beat of a drum
Ignoring its sum
With the throng

No time to find the deeper meaning
I’m busy feeling
Hyped for each song

(Interlude in porcupine scale)

(Spoken)
Chords speak
The ear is piqued.
The voyage into new tunings has begun!
Unlimited sounds, and compositional fun!
And the best part is, it only strengthens the familiar knowledge!

Thank you, thank you!

Emancipate Pitch! (22-EDO)

Art song for tenor and piano. This was meant to be part of a musical, that was never completed. This recording is taken from Sursa Performance Hall (Ball State University) and was performed at my composition recital.

I played the piano, and Sonny LoCascio sung the tenor part (thank you Sonny!)

The character singing the song is fantasizing about his future love.

Lyrics:
Oh, that I might love again,
Oh, that I might look upon,
Your shining face,
so marvelous, 
soft and kind to behold.

Oh, that I might serve you hence,
for that would be my greatest joy,
Oh, that I might value penance,
To be a better man deployed.

If only I were with you now,
Singing sorrow into your ear,
If only you beckoned to me,
Bringing furrow into my sphere,
If only I was in the know.

Who are you?
Who are you?
Who are you?
Who are you?
Who are you?
Who are you?

But when my sight is clouded,
And you rest so far away,
My mind begins to sin and doubt,
Sleeplessly crawling through day.

Oh, that I might pray for you,
Oh, that I might stay forever, 
Oh, that I might give up splendor for you.

Prayer Of Desperation

This is an electronic track in 17-equal tuning, set to an apocalyptic poem about the end of the world. It is very ambiguous, and contains lots of references to the real world that could mean any number of phenomena, although when I was thinking of it, in the back of my mind was a fear of global warming mixed with a pinch of schadenfreude. This was also sung at the 4th annual UnTwelve Xenharmonic Praxis Camp in Michigan on August 26th, 2016. Lyrics, music, and performance by Stephen Weigel.

Lyrics:

Year of turning, lost in sun
Your burning causes us to run
For fires blaze where we adored
A magic sight for the ignored

Year of fate, clutch your book
Your fatal flaw that knowledge took
For anger seethes inside the mind
To drive the serious and divine

Hold me tight, I don’t want to watch the world
Die by myself. Die by myself.

Year of smiles, flex your legs
Beguiling listeners as they beg
For watchers wait toward the lilt   
Accompanying the actions built.

Help me care about the protection of
The things we need. The things we need.

Year of turning, lost in sun
Your burning causes us to run
For fires blaze where we adored
A magic sight for the ignored

Hold me tight, I don’t want to watch the world
Die by myself. Die by myself.


Where Were You During The Apocalypse? (17-EDO) (Studio version)

A dance track in 17-tone-equal. The music continually changes, but is always repetitive enough to be recognizable, similarly to how the song lyrics portray the described relationship. The song represents common feelings of wanting something different and new all the time, but not realizing that this is hypocritical. Music, lyrics, and performance by Stephen Weigel.

Lyrics:
How can I get to know you if you’re different all the time?
How can I be bored when you’re different all the time?

I can see 
we’re just a 
step out of 
sync. 

Anything can be good
Anything that feels like nothingness or surprise

I can be 
fake for you,
hate to think.

I desire your Chaos
On a daily Basis
Symptom of the Pathos
That bewitched our Faces

You love surface-details,
I love testing limits
I’m broken, I’m sick, I
can’t go back to basics
What ruined appreciation?

I… 
can see we’re 
just a step 
out of sync.

We’re in other lands, in other places
I’m underwater, but my breath holds better under 
Stasis.

I can see 
we’re just a 
step out of 
sync.

Demanding Two Faces (17-EDO)

Completed January 13 (Friday), 2017.

Everyone despises you, but they won’t tell you why. They know that something is different about you, but they can’t quite put their finger on what that would be. Perhaps it is some invisible quality that cannot even truly be detected by quantitative means. Perhaps it is the opposite: so obvious, that your obliviousness towards it, at least for the duration of your lifetime, has been quite an achievement. They despise you, they somehow loathe you, in a hidden, societally unacceptable way, because you check all the boxes perfectly. They have told you that you look good, are gifted, are smart, are apparently kind, are cool, are funny, and friendly, which means that you must objectively be likeable. And yet, somehow, even with   these qualities in the bag, you are still an object of secret scorn. The thing that they hate most about you is not even something that they could collectively name, which may be the source of your latent frustration. It likely has to do with how mysterious and guarded you are, how you are extroverted but cannot flirt, how you are joyful but cannot actually ignore your own depressing thinking. Your success is just as false as your happiness. It is that perceived incongruence, real or not, that is so off-putting, that stinks within you, actively repelling the subconscious of all, save the neophyte and the troglodyte. And perhaps everyone who does appear to like you is faking his or her emotions. Why not? There’s no reason to assume the contrary. In fact, there is better reason to assume a lie, considering mainstream motivations and easily manipulated desires. 

Your artistry, all of it, is profound only as a gimmick or an as obscure phenomenon, there for those haters to simply marvel and gawk at because they have not done the same. Who has ever become ethical by simply being new and unique? You have never done so, and never will, even though others may have. To be inventive in the moral realm is a slippery slope to evil with the wrong evolution, and you have been so dull, and so lacking of self-awareness, that the wind and the rain have simply tossed you from one viewpoint to another as you “think” they would. Your worldview is no better than anyone else’s if you consume your own logical medicine like sustenance instead of candy like everyone else claims. Your role as a mere machine or cog, and your inability to conjecture, undermines you as equally as the ant, or anything that nature conjured. And, you try to make things equivalent that are not supposed to be equivalent, or will not be perceived as such.

But maybe no one despises you after all, and you are simply unlucky. “It’s Friday the 13th” you say, knowing full well that this thirteen has lasted the whole month for so many, so many who are not yourself, and who suffer more than you. Your bad luck is their delight, you privileged fool, and they would trade their sanity for your shoes. How dare you entertain this paranoia that you have some fatal flaw, that you let this conceptual femme fatale ensnare your thinking and drive you around in circles? Don’t you know that it’s wasteful to lust after such intellectual falsehood, that its distortion causes suffering that does not even exist to others, or possibly even yourself? A mere mention of this would inspire laughter. What reason do you have to be uncertain compared to anyone else? And why should they believe your anxiousness, since you exude confidence like an expert?

A Mean Little Voice (Bohlen-Pierce, or 13-ED3)

This piece is designed to evoke aesthetic similarities to Kafka’s work (and uses some of his texts freely). Many of his texts describe something strikingly ordinary, but with hidden, unhappy meaning. Intentional ambiguities in this musical work are: the placement of a tonic, the feeling of hovering between life and death in imaginary matters, and lexical ambiguity in the title. 7-tone equal temperament is well suited for this task because of its simplicity and symmetry (which echo the feeling of a blank, motionless thing existing in a context of isolation). Rhythms are made simple, but strange, and the pentatonic subset of 7-equal is purposely avoided; the entire scale is used for heptatonic implications (this is also idiomatic for the dulcimer, which plays a 7-note scale). Extended techniques are used for expressive effect and contrast between storytelling sections.

Performance and composition by Stephen Weigel. First performed at the BSU Student Composers' Forum, April 6, 2017.

Death Giving Monolith (7-EDO) (premiere)

Everyone knows that 12-EDO is perfect! God said so!

This is directly inspired by the Lennon Claypool Delirium, as well as Sufjan Stevens. The four chords are moving between the four different chunks of 5-EDO, as the source material. "God's Number" is 20, hence the usage of 20-EDO with this subject.

In 1820 
God came down
and established 12-tone equal in the
music you must love. But,

In 2020
most had figured out, that the
reign of 12-tone equal would give 
way like other fads.

(solo in different 5-edo scales)

In every age, the
thinkers understand that the 
tuning that gets usage comes from
arbitrary demand. 
 
In every age, the
thinkers understand that the 
truth must be included in our 
music-theory land.

God's Favorite Tuning (20 - EDO)

One time, I dated this girl who was a total b**ch. This song goes out to all those (like her) who get off on being mean to others, and then blame their fiendish tendencies on anything but themselves. Additionally, this person is not interesting - she doesn't deserve a song about her, but the hatred needs to shine. Thus, the song is general, and sort of about the sequence of events instead of any specific qualities of hers. The form of the song also mimics the relationship arc itself (A six-month exercise in one-sided mental abuse... from her). The scale used is a nonatonic:

213321332
4L 3M 2s

I thought of the chorus line in my head one day as I was walking. After a lot of work, I had the melody narrowed down to something like either being in 18-edo or 20-edo - 20 ended up winning because the neutral seconds, and the perfect fifth, ended up being closer to the distance I was imagining. I wanted the perfect fifth to be that specific melodic size where the average Westerner won't notice, but it's definitely off (by around 20 cents). Melodically, it can slip by, but harmonically, probably not. I also enjoyed using the two different kinds of fifths 20-EDO affords, both found in this scale (used in the last two sung chords, for example).

You said you had a thing for me, 
You said you had a crush on me,
YOU LIED
YOU LIED

You said you would be nice to me, 
You said you would be kind at all,
YOU LIED
YOU LIED

We went to dinners and parties
you acted like I was funny
What happened?
Why would you pretend
that I was special?
your vitriol was not normal,  
it was meaner than boredom.

You said you liked to try new things, 
You said you liked to try new things,
YOU LIED
YOU LIED

We went to places of greeting
you turned up your nose at all treating
Negative, ugly people
make the ones who love them the most 
feel bad on purpose.
I didn’t think those kinds of people 
were real until,
until, unfortunately, I met you!

You said that you adored the new,
You said that you admired the truth,
YOU LIED
YOU LIED

It doesn’t matter 
if I’m not as cute
as you like,
because you’re a dirty liar,
but I’m not.

You said you liked to think for me,
You said that I was interesting,  

YOU LIED 
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED 
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIED
YOU LIAR
LIAR!!!!

Do you know what happens to people who lie?
Do you know what happens to people who lie?
They die
alone.

You Lied, and I'm not mentioning your name (20 - EDO)

I'm terrified and sad because of global warming and the future it's going to force most of us to face. To me, there's almost nothing sadder than witnessing the world die, in all of its innocence and beauty.

When I look at nature 
I see so many lovely things
The singing of Earth’s
Bio-diversities 

Nature is the last remaining
thing we haven’t ruined, and
I…
weep for what I think will be the 
last age of history
Where we will even get to see it
Doo, doo doo, doo...

Nature is the last remaining 
thing that we can kill, and 
I…
weep for the innocent death
Of billions of animals 
And people too
Too, too too... 

I…
weep for all us poor souls that will 
lose the race

When I stand in nature
I relish the solitude
I hope it won’t rot
Because of our mistakes
It can be prevented

And I…
don’t want to watch us pass away
And I…
don’t want to watch us pass away
And I…
don’t want to watch us pass away
And I…
don’t want to watch us pass away

Featuring Dr. Jody Nagel of Ball State University, talking about the pond cycle. The pond cycle causes cycles of mass extinction in ponds, and could be considered a microcosm of what's happening to humans now.

Warning About The Pond Cycle (19 - EDO)

Xenharmonic art-song. Several other art-songs are quoted either indirectly, melodically, or both (for example, the opening line is a sound-alike to Caro mio ben, and the steps in the same ratio to each other... which end up landing in very different spots in this scale). See how many you can find. The singer is addressing another person who exists in his/her life who has a capacity for joy and fascination, but who cannot face it for other reasons. Hopefully some of the same emotional content transmits.

These lyrics of mine capture the unique emotions that 6:7:11 chords give me, namely, that of a realization. The "realization" I get from these entities are best manifested as... disappointment in joylessness. It's a very specific, multi-meaning, gloomy, non-12-edo feeling, that isn't JUST xenharmonic. You know how when you were a kid, adults would be worried about everything, and you never knew why, but it made you sad? That would be a helpful association. This song has been performed at multiple venues in Indiana and Chicago.

The 11-note mode used is 6L 5s - wickedly difficult for beginners to sing, but wildly interesting-sounding, giving abundant 6:7:11 chords. The song modulates a 23edo step (1\23) higher about halfway through, and all 23 pitches are used at least once; the 11-note 6L 5s twice, plus an extra chromatic note. Other chromatic notes to 6L 5s exist in the main passages anyway, acting like borrowed chords or secondary dominants in a very complex modal language.

Far o’er low bend,
Crazy, all spent
Sits, me-a detained
Languishing hoper
I reach, always too far 
But never far enough
I put myself out just 
To be ignored,
Ignored, when I love optimism more than you, 

My smile, always in vain,
Mirrored through your face:
Showing you what they want
Without a trace of hate 
Only a glare, 
And before you turn away,

I give a prompt,
Hoping your mind will dance,
Though you are always swamped
And you won’t take a chance,
To be enthusiastic about life with (chromatic) me,
“Why have you interest in things? Why not accept that we’re bored?” You say,
 
And you turn away, 
As unemotional
As a half,
Forgotten song,
Like a ship at sea my heart sank,
Knowing that your sense of fun was bleak.

Many years later, I acquired a new voice 
giving me choice of finally finding yourself
    
I reach, always too far 
But never far enough
I put myself out just 
To be ignored,
When I love optimism more than you, 
More so than you,
When I first met you I couldn’t see
Clearly, and that was exciting,
It was a time where we enjoyed 
Life,
Then we found out 
Our ideas of adventure
Were contradictory,  

I changed for you and I
Wouldn’t have changed for me
If I had known that joy
For you cannot arrive at the right time,

And before you turn away,
I give a prompt,
Hoping your mind will dance,
Though you are always swamped
And you won’t take a chance,
To be enthusiastic about life with (chromatic) me

Oh my beloved, 
Find me at last,
Your eyes, your mein, declare complacency everywhere!

Curiosity Finds A Frown (23 - EDO)

ProceedingIntoThisSongIAssumeThatYouValueMeaningAndPurposeInLife; 
EvenIfYouDon’tBelieveInThemYouMustAcknowledgeTheirCrucialRoleInAllArt;
ButTheDangerousThreadThatRunsThickThroughEveryZeitgeistIsADenialOfThis;
It’sEasierToGetHighAndSpoutVacuousNonsenseToTheTuneOfWastedBrains; 
AsAnArtistThisOffendsMyBeingAndIsInDirectContrastToWhatAllWant;
TheGiftToCommunicateWithoutAgendasPoorDesignOrManipulation;
MarijuanaUsersHaveTheGallToSayThatThey’reEnlightenedByStaringAtTheWall;
WeedIsNotAddictiveYetTheyWon’tShutUpAboutSmokingMoreOfTheBoringShit;
ThisIsWhyThoseWhoSwoonOverDrugsInspireDisgustInMeAndInThoseNearIt;
FailToRelateToTheBlandnessOfEscapistTripsAndYou’reNotPartOfTheGroup; 
ThoseWhoUnderstandTheRealWorldDon’tTurnToWeedForSocialOrMoralQuestioning;
IHaveNeverSeenAnyoneStrengthenTheHumanConditionThroughSmokingOfWeed;
IHaveNoDesireToBeControlledByTheParty'sHypeAndEdginessToFitIn;
ButIWouldLikeToBeNormalAndRelaxedATaskDifficultForTheGoodToday; 
IfOnlyThereWasSomeWayThatICouldDoThisWithoutFeelingSoldOutInMyEyes;
IfOnlyEntireFriendshipsWeren’tBuiltOnSmokingTheDankestOfTheDumbestWaste;
MarijuanaUsersHaveTheGallToSayThatThey’reEnlightenedByStaringAtTheWall;
WeedIsNotAddictiveYetTheyWon’tShutUpAboutSmokingMoreOfTheBoringShit;
ItTroublesMySightWhenPeopleBecomeFrivolousAndDareToCallThatArtistic; 
IHaveNeverSeenAnyoneAddToThePhilosophicalCanonDueToWeed.

PullingWeedsInTheDarkAges (20 - EDO)

Lyrics and music by Stephen Weigel.

How could I make you understand that nothing you do really bothers me, because it doesn’t really matter unless... unless you force it into a space where we have to talk of a petty and stale importance, bargaining awkwardly, till we compromise our integrity, to the sound of our own tears, and escapes, from the dull real-life fear that abstract compromise isn’t good enough to form a view of the world, and that it doesn’t really matter, because we can’t see meaning; what matters in life, is not plain, is not right, has no stain we can wipe away; unfortunately, we are simply left with this decree: “True good does not want reward, or admiration, to form a view, to form a view, strong enough to diminish selfishness, even if impractical.” You must be concerned with this thing that really matters, because, if you aren’t, your fellow humans might find out, and then your sad façade’s self-interest will be shattered, your plans will come to ruin, its riches seen as tattered, and awkwardly making compromise with a non-material party, lines drawn in the sand, at last understanding why non-materialists bargain awkwardly, why non-materialists bargain awkwardly, why non-materialists (?), because they won’t lose their integrity, they can’t lose what really matters, although it can’t be seen, non-materialists bargain awkwardly, for them the strategy, is second to purpose, and the compromise is dead.

Non - Materialists Bargain Awkwardly

I would like my dreams to mean something, something…
Inspiring timeless art within my wasting head, the perfect scene…
But without my conscious will, my brain is truly fickle
Yielding no constructive weight in this deterministic tickle
I don’t want to go to sleep! I don’t wanna!

I will be mature enough to leave the comfortable bath
My eternity of make-believe training gives light to my path
To put on clothes without closed eyes!

Why make mountains out of molehills,
When we are all ants,
And the universe is billions of lights,
And billions of light years,
And trillions of years will defeat all fears.
Dissipating into the void, equalized in death!
I don’t want to go to sleep! I don’t wanna go!

Oh, but I’ll have to go to sleep…
Every day is 24 hours and that’s the way it keeps!
I don’t want to go to sleep! Not right now, not right now!

How long would you have to be awake
before the world would make no sense
Your joys and hopes and urge to dwell
Why, Wormwood, this would all be quelled
Dulled, dead, doornail, polished stars of night!
Night, Night, Night, Night, Night, Night... 

(Interlude)

All shower songs I sing are wasted breath and water,
Made a heathen anthem sinking and lowered into the drain,
Pain is relative but I am real,
I do not believe in me anymore...

Dreams have told me I may live
Through the portal of death’s door
Mortal as we may seem
Seizing according scream
Freezing our thinking love in a sunbeam

(Small instrumental)

I would like my dreams to mean something, something…
something… something… something… something… something…
My last, my last dreamscape rolling on
always nonsense, distant watchman
Nightmare spirits vanishing
Smoke and mirrors ‘flect forgetting!

November 17, 1998:
"My story begins when it was nighttime, I had a dream. It was not a happy dream but it was a nightmare. My pillow changed its picture. My sheet's colors looked new. And the eating gorilla came out of my pillow. It was very, very, very, very, very, very, very scary. It started to eat my head while I was laying on it. I felt so scared that I am frightened. Um, and he cooled my head down and then his mouth ate it. But it was just a quick pretend dream. Then I said, 'Nightmare!' and then my mom ran upstairs and I woke her up in the middle of the night. Um, when the dream was over, it wasn't scary anymore. I was very scared last time. And then I promised next time I wouldn't wake her up. And that's all of my story."

Music and Lyrics by Stephen Weigel, 
July 5th, 2018.

Fiat Circadia (10 - EDO)

Key to owning original words (31-EDO)

Every inch of cared-for homes
Are the opposite of my abode;
It’s just a spot where I sit as I create
In my apartment-31 home

Squalor accompanies grand aesthetic heights
All great prodigies keep filth within their sight!
“I may be lazy, but I try to be un-trite!” 
I exclaim in 31-tone.

In songwriting, so few people care
For new sounds or contextual affairs
Understanding had to trump love
So I cut it off at 31-tone.

There’s no more space for artistic costs, and you don’t
Need to bear financial loss, oh well,
Orwell had some words to say about the
Way we think twice before we act to
Change the language, so we can own our thinking,   
and its shaping power over man.

Music speaks what we already know
And it fills every cranny and nook
Difference stifled by the sheer demand
For the current ogled trend

So my titles adapted to change
Joining meanings to fight through the noise
I owned words, interactively spawned,
Only a googol of mixtures is left.

Every inch of my insipid spot
Is the end of my creative rope
A machine dedicated to novelty and match
Every title a Google-nope

There’s no more space for artistic costs, and you don’t
Need to bear financial loss, oh well,
Orwell had some words to say about the
Way we think twice before we act to
Change the language, so we can own our thinking,   
and its shaping power over man.

(Interlude)

What words are left out in our shared knowhow?
What are we missing emotionally?
Could our complexity quickly approach? 
Limits unimagined or totally unseen?

Then let’s Newspeak our way into
The perfect language for me and you
All sounds, all words, all things real and fake
Combined together in 31-tone.

There’s no more space for artistic costs, and you don’t
Need to bear financial loss, oh well,
Orwell had some words to say about the
Way we think twice before we act to
Change the language, so we can own our thinking,   
and its shaping power over man.

(Interlude)

I unlock the cramped and darkened hole
Where I live and down the daily lore
Doubly thought enantiomorphs
That I got to last.

Perfect language photographs a sign
Her man mills upon cloudy men generating
One thousand words to delineate the truth
My own thoughts are old.

There’s no more space for artistic costs, and you don’t
Need to bear financial loss, oh well,
Orwell had some words to say about the
Way we think twice before we act to
Change the language, so we can own our thinking,   
and its shaping power over man.

Key To Owning Original Words (31 - EDO)

I was too lazy to write any deep lyrics here, so this is just a nice accessible 13-EDO track with a solo. To see me actually playing and singing it, check out this YT link!

https://www.youtube.com/watch?v=Wg3l0RjBM3s&feature=youtu.be

Ice Cream Galaxa (13 - EDO)

This song will be part of the "Agnostic Depression Characteristic of the 21st Century Voice" collection.

You don’t insist upon your way
You don’t insist upon your way
You don’t have labored points to prove
You don’t steal goods in desperate times
You don’t take sides when they’re not there
You don’t treat petty tricks as art
You don’t shun truth and common sense    
You don’t insist upon your way
You don’t insist upon your way
You don’t raise your voice
You don’t raise your voice

Unusual Unreal Unbelievable You (11 - EDO)

No one should pay any attention to content of my words
I just write them so you'll listen to the new sounds that I have for you
None, Like, Dislike, Lie!   None, Like, Dislike, Lie!  

None like lies to their face, music cannot lie if it lacks the wrong words
Likes don't make up the whole of you, despite what the metric to measure worth, despite what the metric to measure worth thinks 
None, Like, Dislike, Lie!   None, Like, Dislike, Lie!   None, Like, Dislike, Lie!   No (one) likes (the) dislike (of a) lie.

We don't like lies as they make it impossible to get a handle on real and important situational you
None, Like, Dislike, Lie!
None (one) like (the) dislike (of a) lie.
None like (the) dislike (of a) lie, No
one, No (No one) like (the) dislike (No (of a), one), lie...

None Like Dislike Lie (14 - EDO)

Watch this on YouTube to see the action!
LInk: https://www.youtube.com/watch?v=zbmdJwXhh2w&feature=youtu.be

A 14-EDO four hands piece, influenced by variation of a rock beat, puns on video games, and the way connecting paths often sweep things into a state of clustered noise by accident through empathetic polyphony. 

(Instrumental)

I like to burn the candle at both ends
With multiplayer piano benefits

(Instrumental)

(Overlapping)
Empathy without sympathy,
motions of single-player clip...
Consolation brings me to the
Brink of communication... 
Empaths arrange for the joyous
Range of their joining empire...

(Overlapping)
Consolation conquers that notion,
Concrete world of dull-nation...
Empathy gives me no reason 
To spitefully seize or conspire...
Consolation contrasts with
The hack-ability of the buyer...
Empaths electrify control
True trolls face excommunication...

Console MPath (14 - EDO)

Go watch the YouTube video if you want to actually see the studio performance, lyrics, etc: https://www.youtube.com/watch?v=oW248340T6I&feature=youtu.be

All Pretends Diminished (15-EDO)

Just want to be in your clubb, please
Just had to learn how to die first
That part of myself that sees
Nothing but beatable hurt

What do I even have to write about
If I got over my feelings of doubt
I’m not even a tortured spectacle now
(You only want me to write about someone else x2)      

Just want to be in the clubb
Just want to be in the center
Of the attention you know I need
Without a winnable sport

Something without plot points or metrics
Something without predictable science
The joy of doing and mystery and fun
All wrapped up into the single one

Just want to be in the clubbbbbbbbbbbbbbbbbbbbbbbbbbbbb