Art by Lev! He fucking killed it go check him out!
https://twitter.com/faulticode
This was made for Vast Error Volume 5 Side 1!
Check out the rest of the release!
https://music.deconreconstruction.com/albums/vast-error-vol-5-side-1

-Commentary-
This track has kind of gone through the wringer of stages. My first few "finished" versions of this were just not cohesive and put together. I'm pretty satisfied with how this is now composition wise though. The intro is a little fugue between a harpsichord, trumpet, and bass synth. The main subject is using the trumpet intro from Over Saturated but with some embellishments and different rhythms. The dotted rhythm in the subject persists though out the entire piece which helped with keeping it together structurally. I tried to keep it as fugue-y as possible until the final section. Then I move to something kinda Mozarty(?) with the piano. The big major break is capped off a little short and brought down to a more melancholy tone. I doubt Calder is the kind of person who'd let himself reminisce in old memories for too long, so I thought that'd be a nice decision, along with the "spooky" little ending echo.

Vast Error Vol. 5: Side 1

Hallowed Halls

Art by Deneiorr, They also completely killed it with this piece go check them out. 
https://twitter.com/deneiorrart

This was made for Vast Error Volume 5 Side 2!
Check out the rest of the release!
https://music.deconreconstruction.com/albums/vast-error-vol-5-side-2

-Commentary-
Im really proud of this one from the production and composition side. Gm-F# is one of my favorite harmonic moves and I make lots of use of it here for the beginning ethereal waltz vibe. It also has a little echo in the back of it that somehow makes its own counter melody with the material. The waltz to 6/8 march shift is a fucking classic and I couldn't resist. That part is suppose to represent a sort of final run to save the day, like "Giving Kushinada a Ride" from the Okami OST. With the horn + viola combo carrying the heroic melody until the track starts to fall apart. The entire ending section is a reference to Shostakovich String Quartet 8 Fourth Movement. Shosh 8 is a really heavy piece, and I thought what better to end this breakdown track than with a piece full of angst, despair, and loss.

Vast Error Vol. 5: Side 2

Successor to the Storm

Art by a friend (doesnt have anything to credit) but it captured the fucking whacky nature of the piece and the colors of how it sounds very well and Im happy it made it :)

-Sample List-
https://www.youtube.com/watch?v=0jXXWBt5URw [0:31] @ 0:01, 0:21, & 0:58
https://www.youtube.com/watch?v=-I4lH6ZGMh0 [6:59] @ 0:21

-Commentary- 
The entire conception of this piece was to get as much development and content as I could into a minute for the format of the beat battle. I based the form and vibe of this piece HEAVILY of off Chopin's Prelude in Bb Minor, Op. 28 No. 16. Its very scalar but i put a lot of weird and wacky harmonic shifts and scales in when I could. I mirrored the preludes few bar modulation to cb major with a transition to G# minor for a little at the end before just sliding up back to A minor. The ending is also absolutely full of polyrhythms and meters. It has the general 7/8 clave against a standard 4 feeling with 7-lets flying above it and sluggish triplets in the back ground. Overall, I'm pretty proud of this piece despite throwing it together in 4 days.

Too Little Too Late (UDMPC Beat Battle Submission)

Rip of an official Goncharov cassette i got from my grandmother. She mentioned vaguely remembering the scene this played it. It was a tiny hallucination sequence where Goncharov saw military exiting the clocktower. A shining sign of how his paranoia got worse as the movie progressed she said. Ive yet to see it but ill take her word! 

-Commentary- 
I hate how this trend is only two days old yet i feel so fucking late to it lmao. Original poster art by @beelzeebulb on tumblr. 
For this piece I kinda just let the clocktower motiff guide me. All i knew going in was I wanted to have a march like accel but the rest was very steam of consciousness composing. I was thinking I could make it longer but decided against it since I have a LOT of other thing i need to put my composer juices towards. I did have a little fun putting a mild Prokofiev Violin Concerto 1 reference in though. After I made it in sibelius I just added a few effects to make it sound old and presto, 1973 movie soundtrack.

Goncharov (1973) - Delusions by the Clocktower

There will be track art later but I feel really excited to finally get this out. i've been working on this piece on and off for 2 years and I think its the best electronic piece I've made so far. I think I'm starting to find my production style here :)

-Commentary-
This piece is a reimagining of Bach's Toccata and Fugue in D as a Party song. I took inspiration from F-777, specifically the "Let's Freaking Party" album. I use three important motives from that piece and morph them into something completely different, but still reminiscent. The motives in question are the opening of the toccata, the theme of the fugue, and the top voice from the first sequence in the fugue. The year in the title is the furthest back estimate to when this piece may have been composed. the range is huge so I wasn't sure what year to pick. I decided the edges should probably be more recognizable vs leaning further into the pun with 1799.

Party like its 1705

This piece was made for the 2024 SAHcon Album: Fraymotif Fighters!! Make sure to check out the full releases! 
https://www.youtube.com/watch?v=LhCf6atTmlA
https://sahcon.bandcamp.com/album/fraymotif-fighters

-Commentary-
Terezi’s Alterniabound theme has been calling out to me to make a fugue out of it for a Long time, so I instantly had a good idea of what I wanted to do once we got the fighting game theme. Fugues being so busy lend themselves really well to the chaotic and powerful vibes of fighting game music. This isn’t the first time I’ve tried to superimpose a fugue into electronic music but this is my best go yet I think. I made what would normally be a transitional sequence the A section to match the form of more Electronic music, but ended up slipping all the proper voice entrances into less notable sections, to get right  to the juicy stuff.  I think normally when baroque textures get into other genres it's normally in ostinato and solely accompanimental, so I wanted to make a point of having the free counterpoint writing be front and center. During the free counterpoint I use a 4 on the floor vibe to keep the energy up but still center the more busy melodic material; and I tried to make that the climax. Unfortunately I caved and gave the Second A a crazy virtuosic sounding squarewave solo. Whichever is more exciting is up for debate, probably. The ending was a little rushed but the picardy third is too classic to resist sometimes. Overall I’m really proud of how this turned out, despite rushing the latter half of this out the day before the con :P

Objection; The Opposing Counsel is No Longer Alive

This piece was made for my friend's OC: Turrin Tiaste, from her Shitshow AU. They also drew the art for the cover! Check out her art on tumblr: https://www.tumblr.com/venusian-socket

-Commentary-
This is my first piece back after getting medicated and getting back on my feet from a bad depressive episode. There's a few firsts in here for me and I'm really proud of how it turned out. The piece prominently features the harpsichord until its overtaken by the guitar as the piece progresses. This represents the slow take over of Turrin themself, as they give into the influence of Entropy, A major player in Shitshow. The fade out also plays into this as it leave the story unfinished, ending with a meandering guitar solo. The metric modulations in the transitions of this piece felt like they threw me a curve ball in the composition process. With the first one i was truly "just feeling it bro" and have to figure out how to contextualize it in the proceeding section. The second transition to the coda was a lot more deliberate, intending to slowly guide your mind out of the 6/16 and back into 4 with various rhythmic claves.

No-eyed Jester

This track is for another Shitshow au Character: Desila Lucana!! Character owned by monochrome-clown on tumblr: https://www.tumblr.com/monochrome-clown: https://www.tumblr.com/monochrome-clown
Art done again by venusian-socket on tumblr: https://www.tumblr.com/venusian-socket 
Check them both out! 

-Commentary-
As soon as I was given the reference tracks for this, I knew exactly which direction I needed to go in: Reminiscent of 80's 90's hip-hop, heavy as fuck drums, and aesthetic compression and glitching. This is my first go at making a piece with flipped samples and I think they both came out very interesting. The microrhythms in the first first main sample initially made me frustrated until I paired it with the drums. They way it interlocked brought an entire new feeling and made me "see the light" per se on sampling. As the title may imply, Desila has borderline personality disorder. She gets hurt by many people she loves, taken advantage of by both a partner and a God. Said god, named Themis, gave her a furturesight power, which showed her all the possible ways her friends could abandon her. Knowing this, the B section of this piece represents the ferocity and chaotic feeling of a split. The trumpet takes over the guitar as Desila loses control of herself and lets her emotions loose

BEST PUSSY DISORDER

[UNFINISHED] Midnight's Gleam

Non-Binary Freakazoid (They/Them) // Neoromantic Pianist-Composer and Soundtrack Producer

R. L. Aurora

Popular tracks