Name: World by Sound Animal
Duration: 8 min 4 s
Description: Began as a jam with XAW on guitar, using a Helix, and SA on drum kit. SA added tracks and produced.

Kind of odd but really like this one has a really dark feel to it

like the arrangement of this song and the production is very unique

This is really dark, you made a great atmosphere

sounds nice like the vibes!! big pressure

Spacious, atmospheric and quite psychedelic. No e and interesting

@dennado: I'm honored, thank you for listening. I love putting tracks in Rooms for reverb.

"In Italia una droga per essere definita tale dev'essere censita nell'elenco delle molecole illegali del Ministero della Salute. Cocaina, eroina, anfetamina, metadone, ecstasy e più o meno altre 200 molecole fanno parte di quell'elenco. Se una molecola non è in quella tabella allora la puoi produrre, la puoi assumere, ma soprattutto la puoi vendere. A 24 anni mi sono laureato in neurobiologia con il massimo dei voti, ho un master in neuroscienze computazionali e uno in dinamica molecolare. Negli ultimi mesi ho messo su una banda che gestisce un giro d'affari di centinaia di migliaia di euro, sono accusato di produzione e spaccio di stupefacenti, rapina a mano armata, sequestro di persona e tentato omicidio. Mi chiamo Pietro Zinni... e sono un ricercatore universitario."
 This is what the main character professor Pietro Zinni says in the very beginning of the film "Smetto quando voglio".

Pietro Zinni

Play on Spotify

House Of Glass Hearts

Began as a jam with XAW on guitar, using a Helix, and SA on drum kit. SA added tracks and produced.

World

Released originally in 2019 on Suburban Bicycle Gang's debut album Soft Balls Are Too Hard.

Suburban Bicycle Gang - How To Lie

Think About The Waves

Original track by Combstead
Lyrics, vocals and middle Lead Guitar by Robert Grigg.
This  is directed at the Medea in general.
I believe that what we agree on, greatly out ways our differences witch are amplified every day by the powers in charge!

Stay Out - Combstead / Robert Grigg

All Music By Me

"Lehi" written by Me and Dani Ford

Cover by Engin Akyurt (Pixabay)

Special thanks to Kahlan Davis and Dani Ford

Don't Want Another Song

Storm In The Making

LYRICS

Phone on the sofa, 
oh you're taking in nothing,
vaguely listening to the scene.
I would kinda love it if you'd give me something, 
something to work with, 
something to grow.
I would kinda like it if you showed some feeling,
or if there's nothing you would let us know. 

We're heading out to see the queen.
We're here to see what's going wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

The beer bottles pile up by your feet, 
your grieving; isn't aimed above but rather just below.
Any excuse to feel collective meaning, 
just laying back to enjoy the show. 

We're heading out to see the queen.
We're oh so worried what's gone wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

We're heading out to see the queen.
We're here to see what's going wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

Your eyes barely flicker as you light up your cigarette,
take a drag and survey the scene.
I was kinda hoping that you'd be my princess.
kinda hoping that you'd be my queen.

The Queen [with The Fall of Saigon]

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

Give Me Life

Experimental music that ranges feral beyond human constraints. 

The music covers a lot of non-genres. Multiple resonances include Dark/Ambient, Psych, Doom, Drone, Noise Rock, Kosmische, EDM, Trapwave, and Romantic Era and Post-Romantic, with special nods to the bands Swans, Earth, Caspar Brotzman Massaker. Dystopian Inspirational for noble outlaws.

Electric guitar, bass, drum kit, lap steel slide and electrified dulcimers played with a violin bow, bodhrán, Peruvian triangle drum, snare drum, silver flute, double shepherd's flute, regular duclimers, spring reverb tank, suling, jaw harp, pungi, khaen, melodica, harmonica, broken cymbal, double wind wand, recorder, boatswain's pipe, penny whistle, slide whistle, MIDI controller to trigger computer's internal synth, voice, found objects, electric tennis racket...

Labels: Kryrart Ambient, Kryrart Records, Camembert Electrique, Cousin Silas Emporium, Dark Stereo, Sounds for the Soul Records.

My name is Rosemary Bensko, and SA is my artist name. While most songs are just me, and I do all the production, when other contributors are involved, they become part of the band for those songs.

Collaborators who contribute a stem to a track or were involved in a jam are always credited: XAW, Igor Iofe, Chris Nolte,Tom McCarthy of TM's Sundae Sauce, Steve Gilmartin, Psychedelic Mayhem, The Fall of Saigon, A.J. Kaufmann, with remixes by The Infinite Wimshurst. There are also joint ventures and SA playing and singing on other people's music.

Lots of music here you won't find elsewhere. Smaller amount is also on Bandcamp, Spotify, YouTube, Pandora, Last.fm, Instagram.

World

Sound Animal

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