Cinematic Soundtracks

Changing the world

Worked on cutting the vocal rhythm for the chorus and dragging. Bit like fighting against the tide but it worked

Of the Sun

#piano #instrumental #pianocover #cover #coversong #dontbreakme

Don't Break Me (Piano)

Peaceful city slept as usual that night 
When engineers conducted fatal test 
Dark sky lit bright by ionized flashlight 
Cruel blast will lay their souls to rest
 
Faceless authorities gave order to assure 
While firefighters fought the toxic blaze 
There is no need to worry rest assured 
Internal organs liquefied in coming days
 
Human flesh
Was enough to go around
No one knows
How much went underground
 
Residents gathered on the bridge of death 
While hidden enemy attacked their skin 
For most this will dictate their final breath 
Regardless of their moral good or sin
 
Unsure which augmentations they possess 
Some lucky children made it to adulthood
Their city has some tourists to impress
With stories of a glowing underwood

Human flesh
Was enough to go around
No one knows
How much went underground
Human lives
Were dispensable as soap
Reckless lies
Buried all remaining hope

Residents gathered on the bridge of death 
While hidden enemy attacked their skin 
For most this will dictate their final breath 
Regardless of their moral good or sin

Human flesh
Was enough to go around
No one knows
How much went underground
Human lives
Were dispensable as soap
Reckless lies
Buried all remaining hope

Sacrificed the liquidators marched ahead
Bled and burned while the world was hanging by a thread
Giving up their final poisoned breath
Selflessly averting swift and certain death




Lyrics - Vasiliy Dubinin/Matt Tessier
Music, arrangement, mixing and mastering - Sergey Pismerov
Cover art - Andrey Pismerov

Participated in the recording:
Andrés Arcentales - vocals
Ellie Dubinin - vocal harmonies
Sergey Pismerov - guitars/programming/drum recording
Danila Zakharenkov - bass
Andrey Yanochkin - keyboard/sound design

Ghost of 86 (feat. Cold Fuse)

Went away for a few days and stayed at a house in middle of nowhere, there was nothing around but cows, on the side in the house was a little information sheet about the place, the lyrics are loosely based on that.

LYRICS

John Wild was staring at his pile of stones. He piled them together till he had a home.
In the fields full of gagel, where bog myrtle grows.
He'd raise up a family where no one could know. 

And, the cows do not care how you feel.
The cows stand and stare in the fields.
Oooooooo. 

There are herbs on the hillside and fish in the stream, 
There's game to be poaching to make good the lean. 
All the animals crowd as the north-easter blows.
The short days of winter approach from below. 

And the cows stand and stare through your face. 
The cows that belong to this place.
The cows do not care how you feel.
The cows will not move from these fields.
Ooooooo-ah. 

And the hills do not know,
of the valley(s) below. (x2) 

ahhhhhh (x4) 

The cows do not give much away.
The cows in the wind do not sway.
The cows are not ever forlorn.
The cows stay right where they are born.
Oooooooo. 

Oh, to be free,
in the wild valley.
Now, look at me.
With my land, far from sea. 

Oh, look at me.
No stopping me now.
Oh, look at me.
With my field; full of cows. 

And, the hills do not know,
of the valley below. 

John Wild was staring at his pile of stones. He piled them together till he had a home.
In the fields full of gagel, where bog myrtle grows.
He'd raise up his family where no one could know. 

And the cows do not care how you feel.
The cows stand and stare in the fields.
The cows do not show on their face.
What they think of this place.
Ooooooooo.

Cows (Wild Ones)

https://soundcloud.com/spukschreibmaschine in levitation.

Fifth extract of the album : https://soundcloud.com/thefallofsaigon/sets/off-with-your-head

LYRICS

Like a bullet in the shoulder, laid there bleeding out.
Like a waif when you look in the mirror, staring out.
Like your ankle in a bear trap, oh you're screaming out.
Like another deal to wrangle, hopes are fading out.

Oh this is no surprise to me.
You wake me from my reverie.

Oh you wake up in the back seat, oh you're fading out.
There's a rope around your wrists, and you lay there fading out. 
Can't remember how you got there, oh your fading out.
Oh it takes a while to figure out, you're fading out.

Oh this is no surprise to me.
You wake me from my reverie.

Rêverie (SpukSchreibMaschine x The Fall of Saigon)

The First Noel

Tales of a Starless Night

Last Trip

Many thanks to Kristopher Bolin for working on this collaboration Cheers Mate!!

https://soundcloud.com/bawl-slant

Movin On - Kristopher Bolin & Combstead

Eternal Reflections for mixed a cappella choir
Duration ca. 14'
Mvt. III. Do not stand at my grave and weep, text by Mary E. Frye. Text in the public domain.
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=901
For More Information: https://robertpaterson.com/eternal-reflections

PROGRAM NOTE (LONG VERSION)
Eternal Reflections consists of settings of the poems A Song on the End of the World by Czeslaw Milosz, Life’s Tragedy by Paul Laurence Dunbar and Do not stand at my grave and weep by Mary E. Frye.

Milosz is a Nobel Prize-winning, Lithuanian and Polish-American poet, prose writer and translator, and is widely considered one of the greatest poets of the twentieth century. After spending most of World War II in Nazi-occupied Warsaw working for underground presses, he emigrated to America and taught at the University of California at Berkeley for more than twenty years. I chose this poem partly because I knew this work would be premiered in Berkeley, where he lived for many years.

Paul Laurence Dunbar is America’s first prominent African-American poet and was a child of ex-slaves. Although he died at the relatively young age of 33, he produced a large body of work, including this poem and the lyrics for In Dahomey (1903), the first musical written and performed entirely by African-Americans to appear on Broadway. He was friends with many prominent figures of his day, including Wilbur and Orville Wright, Frederick Douglass and Booker T. Washington, and toward the end of his life he was honored with a ceremonial sword by President Theodore Roosevelt.

Mary E. Frye was a housewife and florist who became well-known because of her poem. According to an article in the London Times, “Frye had never written any poetry before 1932, when she and her husband had a young German Jewish girl, Margaret Schwarzkopf, staying with them. According to Frye, their guest had been concerned about her mother, who was ill in Germany, but she had been warned not to return home because of increasing anti-Semitic unrest. When her mother died, the heartbroken young woman told Frye that she never had the chance to ‘stand by my mother’s grave and shed a tear”.” Although many versions of this un-copyrighted poem exist, the version used in this setting is the one Frye claimed as definitive before she died.

Although the three poems are related thematically, there are a few other details that link them together. They are all by poets who lived in America, and both Dunbar and Frye were born in Dayton, Ohio. The poems by both Milosz and Frye are profoundly influenced by the tragedies of World War II, and both Milosz and Frye passed away in 2004. Finally, all three poems use musical and aural metaphors, which are particularly useful when setting poems for a choir. These movements may be performed individually or together as a three-movement work.

Eternal Reflections

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Eternal Reflections - III. Do not stand at my grave and weep

House Of Thunder An EP Story

Into The Never

American composer Robert Paterson is a true New Yorker—born and bred in Buffalo, he lived in Rochester and Ithaca for over ten years, in New York City for over twenty years, and now lives in Saratoga Springs, near the Adirondacks. Paterson’s colorful music embraces a wide variety of themes, everything from goddesses and online dating to mathematics and the environment. His music is filled with emotion and fierce rhythmic energy, marked by elegance, wit, and meticulous craftsmanship. Named Composer of The Year by the Classical Recording Foundation at Carnegie Hall, Paterson is the winner of the Alfred I. DuPont Award, and his opera Three Way won the Grammy® under Best Classical Producer of the Year. His music is often a Best of the Year pick on National Public Radio. His orchestral tone poem, Dark Mountains, regularly airs on NPR’s Performance Today. Three Way premiered with Nashville Opera, then BAM (Brooklyn Academy of Music), and across the United States. Minnesota Orchestra, Louisville Orchestra, The Oratorio Society of New York, Buffalo Philharmonic, Albany Pro Musica, Albany Symphony, Musica Sacra, Austin Symphony, Vermont Symphony, and ensembles worldwide perform his works. Paterson gives masterclasses at the Curtis Institute of Music, New York University, the Aspen Music Festival, the Cleveland Institute of Music, and more. He is the Artistic Director and house composer for Mostly Modern Projects. Robert is a lifelong vegan and advocates for animals and the environment, celebrating the natural world with ground-breaking works such as his Triple Concerto, A New Eaarth, Listen, and I Go Among Trees.

Eternal Reflections - III. Do not stand at my grave and weep

Robert Paterson Composer