Dramatic

At first they were afraid, they were petrified,
Kept thinking they could never live without you by their side
But then they spent so many nights thinking how you did them wrong,
And they grew strong, and they learned how to get along.

And so you're back from outer space.
They just walked in to find you here with that sad look upon your face
They should have changed that stupid lock
They should have made you leave your key
If they had known for just one second you'd be back to bother them

Go on now, go. Walk out the door
Just turn around now 'cause you're not welcome anymore
Weren't you the one who tried to hurt them with goodbye?
Did you think they'd crumble?
Did you think they'd lay down and die?

Oh, no, not them!
They will survive.
Oh, as long as they know how to love they know they'll stay alive.
They've got all their life to live.
They've got all their love to give.
And They'll survive,
They will survive, hey, hey.

It took all the strength they had not to fall apart.
Kept trying hard to mend the pieces of their broken heart.
And they spent, oh, so many nights just feeling sorry for themselves.
They used to cry but now they hold their head up high.

And you see them and they're new.
They're not that chained-up little group still in love with you.
And so you felt like dropping in,
And just expect them to be free.
And now they're saving all their loving for someone who's loving them.

Doing a recording.

Looking for female vocalists and if you are a multi instrumentalist, that is a huge plus. The project may turn into an album release tour, if the players are into it. Def. hard copies (Records, CDs and possibly cassettes), to follow whatever we do. Looking for live special guests for the interim. More TBA.

THESE ARE JUST ROUGH, LIVE RECORDED, IMPROV SAMPLES, AS WE GO. Not made for the recording.

I CREATE A LOT OF THESE SOUNDS BY PLAYING INSTRUMENTS, USING FIELD RECORDINGS AND MAKING SOUND, WITH MY MOUTH, THROUGH A MIC AND EDITING/FILTERING, IT DIGITALLY. I USE MATH AND I WORK IN MILLISECONDS. I DO NOT USE AUTO FILTERS AND AUTO CORRECTIONS AND APPS, TO MAKE MY SOUND. I MANUALLY CONTROL, MANIPULATE AND DECIDE WHAT WILL HAPPEN, IN REAL TIME.

THESE ARE TEASERS. YOU CAN PURCHASE FULL LENGTH VERSIONS.

THIS MUSIC IS FROM 1997/2010. (ANYTHING RECORDED PAST 2010 WILL BE SHARED OFF LINE, IN PRIVATE MESSAGES AND IN PERSON, AT PERFORMANCE OR JUST OUT IN THE WORLD. HARD COPIES ARE AVAILABLE.)

LET ME KNOW IF YOU WANT TO PURCHASE A 1 OF 1, CD COMPILATION WITH ORIGINAL ART, FOR $20. CASSETTE COMPILATIONS WITH ORIGINAL ART, FOR $10.

OWNED AND SHARED BY: SKYSKRAYPER.

ALL RIGHTS REVERSED C/O PRIVATE RECORDS 1997/2017

Kozy Wan Kenobi🧘🏾‍♂️ 
Creator of Spacegoonz 👽
The Legendary Fuck Up ⚡️

If reinvention is the key to immortality, Chris Parson is going to live forever.  Chameleonic in style as in name, the visionary DJ/producer has shed many skins, each one broadening his bite further up the food chain. To veterans of the electronic dance community, he is widely remembered as junglist Crisp Arson. To the more recent wave of rave, he is Parson — lead pilot for Run DMT (est. 2011) and crime-fighting beermonger for Irresponsible Voltron (est. 2008).  
 
These nights, he operates as Spud Crowley — critical thinker, feather-ruffler of social media, and composer of metaphysical, bass-riddled wizardry. Once recognized as a pioneer of North American dubstep, the native Texan has since evolved to embrace a sound that spans more of his musical influences and individual prowess. Weaving time, moods and dimensions, he aesthetically connects the cerebral and the spiritual, pairing knowledge and dance. With vinyl releases on Planet Mu, Creative Space Records and Dubline Audio, as well as a decade-long enterprise as resident at Austin’s famed bars Plush and Barcelona, Chris Parson is truly a bona fide music-maker.
 
Following a brief stint at Otis College of Art and Design in LA, the border Texan moved to the capital city in 1997, and in 2001, dug his roots into the underground bar known as Plush, where he founded the longest running DnB weekly in Austin to date. After a five-year stretch booking and performing every Tuesday, the restless Plush fixture made the move to Barcelona — Austin’s notorious Sixth Street basement bar — and shifted his work week to Thursday nights. During his four-year residency with collective Irresponsible Voltron, Chris drove his production the route of dubstep and made history.
 
As his DJing captivated crowds in Austin and beyond, Parson the producer went global.  He received the Best International Newcomer Dubstep Forum Award in 2006, and his remix on Ramadanman’s label won Best Digital Release the following year. Undeniably, his catalytic moment was indeed 2007, when Parson’s creations caught fire through prestigious vehicles Planet Mu and Dubline Audio.  
 
His tracks “Throw Some Ds” and “Texas Crawl” gained such fierce popularity, Mary Anne Hobbs of BBC Radio 1 deemed Parson the inventor of “chopped and screwed” dubstep — a Texas-bred style that has since been imitated, but never replicated.  His discography continued to ignite with releases on La Dubstep Nostra (2008) and Creative Space Records (2009), and with a remix of Wu-Tang Clan’s “Now or Never” (2009).  As Run DMT, he released on Teenage Riot Records, Play Me Too Records, P5 Records and Heavy Artillery Recordings; but when the joint endeavor went supernova, a disenchanted Chris detached from the duo.
  
After touring huge festivals in the US and Canada, and leaving a trail of international releases in his wake, Chris Parson’s focus shifted back to the elements:  back to where rock meets wood to spark fire.  In 2013, he returned to Plush as Spud Crowley, with a fresh, albeit brief monthly residency known simply as Baked, then spent 2014-2016 back at Barcelona as resident of a bass-driven weekly. Parson fanned the flame for those three years, only to drop the torch to follow the moon. Unweighted from the trademark sounds of his past, 2017 peeled back yet another layer to the shapeshifter. Now, alongside Alex Scott, he is MDMT, and their element is all water and air — fluid, heady, and feelgood. So whether he’s weaving atmospheric goodness for local crowds, or shaking maracas as a rogue banana in Satalights, Chris Parson continues to construct the legacy that’s made him an Austin mainstay. 
 
 
https://soundcloud.com/mdmtsound
http://www.mixcloud.com/chrisparson/
https://soundcloud.com/spudcrowley
https://www.facebook.com/SpudCrowleyBeats