Lostsun - Elizabeth (Instrumental)

Billy Corgan's Pumpkin Island Survival

'blinded by the sun' produced by heylog

lyrics:
you are every place i'm at, everywhere i look
what was it i said that made you this shook
i'm just telling the truth and you knew i would
don't interrupt me while i'm tryna cook
this is life
please don't cry
you're in tears
and you're worried i'm to fear
what was it i said that made you this way
everything we had now is down the drain
oh and god i don't feel the need to explain
when family asks about you i feel the pain
feel the pain

this ain't what i expected
i'm learning to accept it
it figures when i move on
you come back with aggression
who do you think u are
to appear whenever you want
do you think that's how this works
the situations now worse

𝘧𝘪𝘳𝘦?

𝘩𝘦𝘭𝘭𝘰?

𝘱𝘳𝘦𝘵𝘵𝘺 𝘸𝘩𝘢𝘵?
𝘱𝘳𝘦𝘵𝘵𝘺 𝘧𝘺𝘦𝘦 𝘦𝘦 𝘦 𝘦 𝘦𝘦𝘦𝘦𝘦 𝘦 𝘦 𝘦 𝘦  𝘦𝘦 𝘦 𝘦

why'd you make it worse than it had to be
only if u knew how i felt right then
when i see your name i barely can breathe
might as well just consider me a wretch

i hope i fall asleep and never wake
i always see u there and it feels safe
oh no please body don't u dare wake up
i'm in heaven and blinded by the sun

spotify

blinded by the sun

DMT DANIEL

XYLITOL GUM

GOING TO PLOOTO

WACKY PALACE

GOOF

Throughout my experience composing, different forms and ideas have captivated me. One that I have been particularly fascinated with is the tone poem. Writing a single movement, long form programmatic work has always been a goal of mine. This work is my attempt at such a form for wind ensemble. The story of this piece loosely follows the classic clichés of what might happen if aliens were to invade Earth.
    	The work can be split up roughly into 8 segments: 1, an introduction to "the aliens", as well as a few of the motifs in play, including the use of phasing effects across instrument families, and melodic lines build around quartal and quintal harmony. 2, representing the spaceship flying through a desolate space and locating Earth. 3, The spaceship landing on Earth, as represented by a percussion interlude, portraying the rumbling of the earth. 4, a dissonant fanfare announcing the aliens' arrival, which turns into an eerie soundscape as they begin to reveal themselves. 5, as the aliens start to emerge, they start tranquil and nonviolent, but begin to wreak havoc very soon after, and people retreat. 6, as things begin to subside, and people start going outside again, the repercussions of the chaos caused by the aliens becomes apparent. Dread ensues. 7, Hark! A stronger force has come to fight the aliens, represented by a grand organ entrance. Conflict thusly ensues, people retreat once more.  8, as the dust clears, it becomes apparent that the aliens have been defeated. Celebration ensues.    	 
       While a silly concept in nature, I tried to make this work as practical as possible, applying techniques such as motivic development and quotation (Close Encounters of the Third Kind) throughout. There is also a visual element to the "alien motif" of phasing. In the introduction, the phasing texture in the brass is completely symmetrical, and somewhat in the shape of a flying saucer, which is where I rooted most of the inspiration for this piece from.
    	Aliens!? On My Planet!? More Likely Thank You Think. was written for Jack Delaney and the Meadows Wind Ensemble at Southern Methodist University, and is 15 minutes in duration.

ALIENS!? ON MY PLANET!? (More Likely Than You Think.)

Sof

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