Name: Homestuck - [S] How Do I Live by [S] Homestuck in My sweet little maple sugar covered cornflakes stuff
Duration: 3 min 43 s
Description: Over one year, I've been reading Homestuck. I love the soundtracks and here ya go!

this is John's canon voice, u cant change my mind

My sweet little maple sugar covered cornflakes stuff

Courtroom Shuffle Music by Nitrosparxx
Art by Paula Viera [elanorpam]

21 Courtroom Shuffle

Image manip from http://katolilly.tumblr.com; everyone talks about how Lady Gaga is their headcanon Cronus, so here's MANiCURE pitched down to sound like him, to the best of my ability.
It's on youtube now, and the description has a link for a converter website that’ll convert it to mp3 and let you download it in a manner of seconds. Enjoy!
http://www.youtube.com/watch?v=8fNsHZ41tLM

[S] Cronus: Put some lipstick on...

Bruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.

Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal’s 1992 film Le petit prince a dit, and Agnès Merlet’s Le fils du requin in 1993.

In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.

The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais’s name was to be found on most new French blockbusters, such as Belphégor and Vidocq.

After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton’s group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber’s film Don Juan in 1998.

In 2002, his name was found on the ending credits of the animation L’enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer’s Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais’s collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.

Bruno Coulais’s musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film’s narration.

Coraline Soundtrack Song  Exploration

Harleboss

i really just made this so i could have a playlist on my weeb scenekids account goodbye

Earthsea Borealis

Homestuck - AlterniaBound - 05 Terezi's Theme

Tears of an Angel

Homestuck Vol. 5 - Pumpkin Cravings

this isn't mine, credit goes to james roach and pesterquest

PESTERQUEST: CH3CK TH3 M3T4D4T4 - James Roach

Han bear ey all vor smarte 
Oo en day trei striat ande glemt 
Lee kell vell are vey til lit 

Vor shlekt ah chilt meh bloo far guh 
Vee har ing en sha liet ell aey deed 
Lee kell vell are vey til lit 

English: 

He carries all our pain 
And one day his strife is forgotten 
However, we are forgiven 

Our kin are separated by colour of blood. 
We are without without love or virture. 
However, we are forgiven.
credits
from coloUrs and mayhem: Universe A, released 02 April 2012 
Iron Infidel by Samm Neiland 
Art by Paula Vieira at www.fanelorn.net 

Special thanks to Katherine Bordonaro, Connor Favero, Lorilyn “Neoscottie” Seyler, Steve Johnson, Andrea McNeil, Ari and Pippin

Iron Infidel

from coloUrs and mayhem: Universe A, released 02 April 2012 
Fuchsia Ruler by Sinister Psyche 

Art by Mel at nyanvantas.tumblr.com

Fuchsia Ruler

04 - BL1ND JUST1C3 - 1NV3ST1G4T1ON !!

The Gypsy Bard (Homestuck Parody)

Over one year, I've been reading Homestuck. I love the soundtracks and here ya go!

Homestuck -  [S] How Do I Live

Killed By BR8K Spider!!!!!!!!

my name's Dani and this is jackass
this is a community account for all my chums to listen to my bodacious music

Homestuck - [S] How Do I Live

[S] Homestuck

Recent comments

Nami

Sr Br0ke

Ivee

cherryblod lol

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