Name: Vision Fugitive by Rvflores
Duration: 4 min 35 s
Description: just a little nibble of me singing at a workshop a couple of years ago...

Lyrics:

I told her my name
I told her my game
And she was the same
So who should I blame?

I stuck out my gut
Broke out of the rut
My minds at ease
But her knees feel weak

...

People talk about 
Living by themselves
I didn't understand
But you leant a hand
So I broke my phone
Told my friends to go home
Guess that, they just don't know
How I'd like to be alone

I sit by the woods
Never say I should
These days have no end
There's nothing to mend.

(x3)
People talk about 
Living by themselves
I didn't understand
But you leant a hand
So I broke my phone
Told my friends to go home
Guess that, they just don't know
How I'd like to be alone

Lawn Lounging

About the work and its thematic content:
	
unBroken begins inside the mind of the individual afflicted with mental illness.  Overlapping pitches and pleasant dissonance reflect the workings of a mind in conversation with itself.  The “family” motive, a series of five notes articulated in the piano, is first introduced here (representing my parents, myself, and my two brothers).  The “mind” theme, a three note motive that conveys both beauty and peace (D-flat, C, A-flat), is first heard in the tenor voices and is repeated as the thought cloud develops.  However, it becomes distorted by a half step (D-flat, C, A), introducing an element of bitterness.  Warning signs and cracks begin to become evident as various thoughts and emotions race and compete with each other until the individual cries out to silence them.
	A solo flute introduces the next segment, as the individual tries to navigate the world and their life.  The melody (“Shirley’s Theme”) is hopeful, melancholy, and brave.  As it continues, it becomes distracted as the inner mind begins to exert more and more influence on the outer life.  A twelve-tone matrix is first heard in the piano, as the individual’s ability to cope begins to waver.  A dialogue ensues in which the individual tries to assert their hold on the illness, assuring everyone that they are fine. The theme becomes more and more desperate as the individual struggles to keep themselves together; they make one last herculean attempt before the inevitable break occurs.
	The work takes on a sinister, playful character as the individual enters a manic state.   The clarinet introduces a new melody which is built on the distorted mind motive and leads the listener through a series of short episodes as the individual’s mood and character change violently.    Thoughts rush, leading nowhere, and in a whirl of turmoil and noise, the individual sees the world and themselves through a distorted lens.  The atonal matrix and distorted mind motives are combined into a cacophony of rage and destruction as the individual loses control of their life.
	In the silence that follows, a lone clarinet sounds, bravely pulling itself from the wreckage.  The individual begins the difficult process of acknowledging the illness and beginning to face it.  Its strength and its confidence build until it emerges into a fanfare that is simultaneously triumphant and melancholy, able to cope with its problems but aware of the challenges that lie ahead in living with this burden.  The main theme returns as the individual resumes their life, unbroken and whole, but changed. The work ends as it began, inside the mind of the individual.  There is still dissonance, but the dissonance is pleasant and peaceful.  The final crescendo sounds as the individual looks towards the future with hope.

unBroken (Grade 5, Randall Standridge)

Written by L. Toran, J. Diffley c.2015
Recorded/Mixed/Mastered by Lane Toran

instagram.com/lane_toran

Angels

This is a holiday parody of the classic 80's song "Rosanna" by Toto.  It's the story of a young boy whose dream is to ride on Santa's sleigh on Christmas Eve night, recorded over several long weeks in 2000.
The piano, bass, drums, horns and keyboard parts were played on my Kurzweil K2500 keyboard workstation and a Korg analog modeling synth, to painstakingly recreate the basic instrumental tracks.  I played the electric guitar parts on a cheap sparkly blue Danelectro through a Line6 Pod, and the extra percussion was played on real instruments.  The cheesy sounding lead guitar was played on the keyboard, because I am a terrible lead guitar player.  Lead and backup vocals were all sung by me without AutoTune (obviously) or any other studio magic button.  Not only because I hate that crap, but this was Y2K, y'all.   I gave it my best shot, but can't touch the vocal ability of the inimitable Bobby Kimball.  15 years later, I can't even begin to sing those high notes again.

Oh Santa (Take Me On Your Sleigh)

Recorded in 2001, this is my take on "Silent Night," with many found sounds including traffic noise, a VW Beetle engine, parade, crowd noises, youth orchestra (backwards), and various ambient and percussion sounds deconstructed to alarming effect.  It attempts to juxtapose the peace and tranquility of that very first Christmas night with the noise and chaos of the modern Xmas season.
The gentle electronic rhythm sounds in the beginning of the track are the result of running an 80's Synsonics toy electric drum pad through the Vocoder on my Kurzweil K2500.  The live drums on the second half of the song were tracked in the hallway of my 3rd floor walkup apartment, with a mic tossed down the 3-story stairwell for natural reverb.  I think they sound pretty huge for a tiny little cocktail kit.
Thanks for listening, and I welcome any and all feedback.  Merry Christmas!

12 Silent Night, Stille Nacht

just a little nibble of me singing at a workshop a couple of years ago...

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Vision Fugitive

Rvflores

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