Really like how the ominous drums set this up for the guitars. [via https://sc.repostexchange.com]

Wow, love the sound of the guitar, especially when using wah wah! Drums are going hard and the bass sound is awesome!

"By myself but not alone"

This version is not final but mostly. Vocals and second guitar a yet to be added

By Myself But Not Alone

Tell Me Something

# 21 [Tell Me Something]

The lethal path of deception

# 23 [The lethal path of deception]

# 26 [Incubator]

ANON

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

Anchor

A new  cut from Canada's Adam James! Check out Lady Luck today! We hope you LOVVVVVE IT!

Lady Luck

Herd Mentality

# 6 [Herd mentality]

A very early version of our song 'Fall into Symmetry', this track started as a challenge from @jculkin to add guitar to an ambient horn track. After a few back-and-forths, here's how it turned out.

LYRICS:

Roll underwater
The salt gets in your eyes
It’s blurring all their lies
And days getting shorter
Ignore the worried cries and sever all the ties

Search every dynasty to see what we can find
We haven’t got the time to fall into symmetry
The pieces in align
The king and queen are mine

Where are you taking me?
I don’t recognise the road
I’m tired and I’m cold
Where are we going now?
I’m blinded by the sun
I think my time has come

Roll

The Final Fight (Remastered)

Donor

# 7 [Donor] (feat. Sasha Bonn)

Another TWS track, with JC on lead vox, Stooj backing

LYRICS:

We’re just dry stones balanced on our rough edges
Glued with moss and air
Make a wall that stands forever
Keeps the cut grass from the wild

these stones might stand forever,
but those edges make a ladder
Anger climbs

If horns are made to lock
And ears are made to block
Then slammed doors need a knock
Boats are made to rock

My mouth is full of pins
Sharpened words pointed in
If I let them out, my pain ends
But yours begins
These teeth are filed sharp
When they bite, they leave a mark
So I bite my tongue for everlong

We’ve forgotten what it’s like
The flick of hate, the prick of fight
The moment when the tears fall
We’re dead inside, we had it all

The Fight

Original composition.  All music composed and performed by Alejandro Gonzalez (Sabine Alexander).

Uxoriae

Now available on Spotify 
Composição: Paulo Pellegrini
Lima Júnor - Voz, Violão e Gaita
Sandoval Filho - Bandolim, Teclados, Baixo e Cajon

Por Mais Que Eu

# 10 [Next Step]

Lyrics:

Look at me, you can see anything you want to
Because you're free
We try, we all cry when nothing seems to stay right
But we get by, we get by

When you feel alone I'll be by a phone
You're never on your own, you're never on your own
And you'll get by

When you're down, we can hang around
And have too much to drink while we're on the town

Cause you can be and you can see anything you want to
Because you're free

When you feel alone, I'll be by a phone
You're never on you own, I'll be by a phone

And when the feeling's gone, I'll be by a phone
You're never on your own, never on your own
And you'll get by

All Words & Music © Sean Parsons Music

# 10 [Next Step]

Ray Warlock

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