The instrumental got interesting synth choice & its mix, thicc bass as well

I usually don't listen to this genre, but this song is pretty good, gotta admit that

Great music! I like the voice and the beats!

Maple Julep – My Songs Know What You Did In The Dark (Light Em Up)

Wonderland

It's All Been Done Before (pardon the language, God bless.)

LUV + 3NDR [Prod. xaynor + 1nosaint]

Original composition.... Alejandro Gonzalez M.

Opprobriae

We're Destined To Be Using Computers For More Time Historically Than Not

With XAW on guitar.

Began with a long jam session with XAW on electric guitar and SA on bass. 

Then SA added Greek double shepherd's flute played with a clave (also blown), and mixed/mastered.

Ride

*In progress* Part 2 ( Need to work a lot more on it but ill probably do just couple different version of it ) xD thank u guys so much for the support! You all are amazing!!!

Project Space Walk Ost Pt2

UNA LACRIMA SUL VISO 
Da una lacrima sul viso
Ho capito molte cose
Dopo tanti e tanti mesi, ora so
Cosa sono per te
Uno sguardo ed un sorriso
M'han svelato il tuo segreto
Che sei stata innamorata di me
Ed ancora lo sei
Non ho mai capito
Non sapevo che
Che tu, che tu
Tu mi amavi, ma come me
Non trovavi mai
Il coraggio di dirlo, ma poi
Quella lacrima sul viso
È un miracolo d'amore
Che si avvera in questo istante per me
Che non amo che te
Non ho mai capito
Non sapevo che
Che tu, che tu
Tu mi amavi, ma come me
Non trovavi mai
Il coraggio di dirlo, ma poi
Quella lacrima sul viso
È un miracolo d'amore
Che si avvera in questo istante per me
Che non amo che te

Una lacrima sul viso (Bobby Solo cover)

Sleepy Time Down Southeast

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 - III. Dolente

Hit me on instagram lets work
Instagram : senjuvsony

LUV + 3NDR [Prod. xaynor + 1nosaint]

senjuVsony (@senjuVsony) 🕷️

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