The synth and rhythm tracks are inspired by my love of The Who. Specifically Who Are You, Won't Get Fooled Again and Baba O'Riley. Once I started adding melodies it took on its own life. That's the cool thing about recording sometimes. The song goes where it wants to regardless of how hard I try. ;-)

03-02-18: Replaced original mix 3 file with MIX 5.
03-06-18: Replaced file with MIX 9
12/19/18: Replaced file with lossless AIF
05/02/19: eMastered mp3
08/12/20: Final Version v2.3

Shut Up & Play

Who's Rising

iTunes

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

The Indianapolis Quartet: Robert Paterson - String Quartets 1-3

String Quartet No. 2 - IV. Scherzando

First track preview from my 'debut ' album of collaborations coming soon featuring the voice  & lyric of Paul Campion formerly of cult scottish indie band 'ac acoustics' and co writer with Placebo on a number of songs including '20 years ' & 'Every you every me '. Additionally Ally Mcerlaine who requires no introduction . 
Written and performed by Campion , Mcerlaine & Paterson .
Recorded in Hampstead , London , Mixed in the Southside , Glasgow
Produced , arranged & mix by Kenny Paterson

'Heart Not A Lung' By Kenny Paterson with Paul Campion & Ally Z

Musical illustration of confession. 

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Photo by Mariam Soliman on Unsplash

Confession - (Piano) Ambient & Emotional Chillout Music

Social Blister

Monday6 is an Albuquerque, NM Rock/Jazz inspired band.

Lyrics:
Standing in the twilight - Under the crescent moon
I had to check my eyesight – Outside this greasy spoon
Over there a leaning - Against the door of glass
Pinch me am I dreaming – nightmares from the past 
Tell me what it is you’ll see 
Tell me when I’ll know
I’ll tell you what I can’t believe
Your feelings just don’t show
You walked into my life - When we were seventeen
You looked into my eyes - To me you were everything 
Emotions felt so right - I knew true love was there
I lived for every moment – trapped inside your lair
Tell me what it is you’ll see 
Tell me when I’ll know
I’ll tell you what I can’t believe
Your feelings just don’t show
So, come on! Come on now!
Show me a sign
Balls of confusion
Are tearing up my mind
Would you remember? - The times that we both shared
When our bodies touched – Electricity in the air
Would you remember? – The last time that you lied
I know that I remember - Cuz it’s etched upon my mind
Tell me what it is you’ll see 
Tell me when I’ll know
I’ll tell you what I can’t believe
Your feelings just don’t show
So, come on! Come on now!
Show me a sign
Balls of confusion
Are tearing up my mind

Written by- Mike Sargent (Lyrics), Phil Shapiro (Music)
Lead Vocal- Dave Prince
Guitars- Phil Shapiro
Bass- Dave Gray
Drums- Mike Sargent
BG Vocals- Dave Prince
Percussion- Mike Sargent
Mixed and Mastered by Phil Shapiro

Buy on BandCamp HD

Balls Of Confusion

An extended version of an upbeat, hopeful Christmas track in this trickiest of years. Listen and feel hope!

Phil Mellen - Guitars, bass, keys, vocals
Jake Evans - Lead guitar

Recorded at Big Red Studios, Macclesfield.

Better this Christmas (extended version)

Many thanks again to COMBSTEAD for the opportunity to work together! 

Music by COMBSTEAD💀 (#combsteadmusic)
Lyrics and vocals by GrownUp Indigo

Ando Moon - "Why Can't This Be Real"

OVHXC RECORDING.