New first single off upcoming EP :- The Magic Pill

Magic Pill

Circle The Pit

Club 12(Pop) (Zara Larsson,Lewis Capaldi,Dermot Kennedy And More)

Our second vocoder-heavy song
More of an electronic indie angle this time

LYRICS:

You're obscene
You're obscene, will you stop chasing me?
It's time you realised these words you're saying come with a fat price that you're not paying
It's not my scene
It's not my scene, this isn't consequence-free
I can't breathe
I can't breathe my memory's stopping me

You don't care
You don't care and that's plain to see
It's time you realised these words you're saying come with a fat price that you're not paying
Fear surrounds
Fear surrounds and we stop feeling free
Love abounds
Love abounds when you stop feeling free

You're obscene
You're obscene, will you stop chasing me?
It's time you realised these words you're saying come with a fat price that you're not paying
It's not my scene
No, it's not my scene, this isn't consequence-free
I can't breathe
I can't breathe my memory's stopping me
I can't breathe
I can't breathe my memory's stopping me

Memory Stopping Me

A track by Brian Butts that I added to and Mark Combs mixed and mastered!
Too much fun
Brian Butts: https://soundcloud.com/brian-butts-565934842

RoadKill - Brian Butts / R Grigg Mix by Combstead

Summer Songs (for Soprano and Chamber Ensemble)
Duration: ca. 24'

MOVEMENTS:
I. Summer Music (May Sarton)
II. The KIte (Anne Sexton)
III. Childhood (Sharan Strange)
IV. Moths (Jennifer O'Grady)
V. Summer Night, Riverside (Sara Teasdale)

Performers: American Modern Ensemble; Marnie Breckenridge, Soprano
For More Information: https://robertpaterson.com/summer-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2333
Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_summer_songs__score-chambe
Also available as a version for soprano and piano: https://robertpaterson.com/summer-songs-piano-vocal-version

PROGRAM NOTE
There is a seemingly endless supply of poems about summer. After writing Winter Songs for bass-baritone and chamber ensemble or piano, I realized that I had inadvertently only set poems by male poets, so I decided to restrict myself to female poets for this cycle. I am well-aware that this could emphasize a potential cliché: woman can be viewed as more "summery" and men more "wintery,” but more than anything, this is merely a way to offer a course correction, so to speak, or even a yin and yang, as well as a way to create a balance between these two works.

Summer Songs begins with a setting of Summer Music by May Sarton, a light, happy, playfully musical poem filled with allusions to nature. The second movement is a setting of The Kite by Anne Sexton, a poem about honoring and enjoying the moment, and the simple things in life such as flying kites with children. Childhood, the third movement, is a setting of a poem by Sharan Strange about children capturing fireflies. The fourth movement, Moths, is a setting of a poem by Jennifer O’Grady about moths, but relating to late night conversation on a front porch. The cycle ends with a setting of Summer Night, Riverside, by Sara Teasdale, a passionate, warm, optimistic poem that muses on the timelessness of summer.

Summer Songs was commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble. Special thanks to Marnie Breckenridge for her assistance in selecting the poems for this cycle.

Commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble

ARTISTS
Robert Paterson, Conductor
Marnie Breckenridge, soprano
Sato Moughalian, flute
Pascal Archer, clarinet
Matthew Ward, percussion
Geoffrey Burleson, piano
Esther Noh, violin
Dave Eggar, cello

The Four Seasons

Summer Songs - I. Summer Music (Text: May Sarton)

Composer/ Musician(s): Curtis Simmons 
Producer: Crisis Mounts // Curtis Simmons

SandCastle Productions

Without You (Demo)

The idea behind this track is to blend Blues chords progression with hard rock electric guitar. Hope you like the rendering. 🙂

The track was made on GarageBand for iOS and mastered on a Mac. I used the phone interface to play the electric guitar.

Hard Blues Cafe

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

Spring Songs - III. Done With (Text by Ann Stanford)

Always liked Bob Dylan's early songs that took jabs at people...

PAINT THE TOWN BLUE

if you could turn back time
would I be yours?
would you be mine?

if you could change your mind
would it be cold
would it be kind?

if you had a change of heart
would it beat hard or soft this time?
If you made a brand new start
would i be here or 
left behind
I’d be out of your mind

you don’t have to say
cos you always take the long way round
you always take the higher ground
you’ve always got to paint the town blue
you’ve always got me running round
you always turn me upside down
and I've always got to paint the skies blue…
and I do…

If you could have your say
Would it take all
All of my lines

If you could have your day
Would it take all
All of my time

if you could see yourself 
would you be pleased with what you find

If you forget yourself
Would it be always on your mind
All of the time

you won’t have to say...

if you could turn the tide
would we be all left high and dry

if you could make up your mind
would you be ever so dissatisfied?
DEEP DOWN INSIDE?

You don't have to say...

I paint the town blue…
I paint the town blue…

Paint The Town Blue

PsY.1

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.

Spring Songs - III. Done With (Text by Ann Stanford)

Robert Paterson Composer