little SDM on a Monday never hurt anyone 👍

Suena muy fino mi bro debes seguir así y no déjalos

Really like the classic 80s feel of this.

Great kick with solid structures. Clean and crisp. Very good song and well mixed. A+

that shit fireeee love it more like these

Drab, intro, nothing happening. Drum track comes in nothing? not melody.. not anything but a bass drum of 16ths an a half note lead.. Next

SDM-Experimental/soundtrack

This is a track i put together with some samples of this style of music. Hope it comes across.

Neon is the new colour

Original composition... Alejandro Gonzalez M.

Firmamentum Mysterium

L'accident

SPACE

This song let you feel light. Almost like birds flying in the sky.

LeichterSinkflug

(c)2021  Guitar, bass, Composing, programing, recording, mixing and mastering by Robert Grigg
A fun little ditty!

Video Link!
https://youtu.be/P5MKya1bNpU

The Rooster Walk

MASS

Crimson Earth for Symphonic Band and Solo Violin
Duration: ca. 14'
Publisher: Bill Holab Music. http://www.billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&zenid=3699359cefb6e31676ed8d068a02c3c4&keyword=crimson+earth
View Score: https://issuu.com/robertpaterson/docs/crimson_earth-fs-color_cover-bound
For More Information: https://robertpaterson.com/crimson-earth 

PROGRAM NOTES
In Crimson Earth, my primary concerns are the exploration of exotic sonorities and textures, the spatial placement of instrumental groups and the process of moving musicians throughout the hall to create interesting textural juxtapositions.

Although no specific programmatic associations are intended in Crimson Earth, two specific references were influential: Pieter Bruegel the Elder’s gruesomely detailed painting The Triumph of Death (c. 1562), and the following short verse I came across in a book of quotations from the Old Testament (Job, Proverbs, 24):

"He swalloweth the ground with fierceness and rage: neither believeth he that it is the sound of the trumpet. He saith among the trumpets, Ha, ha; and he smelleth the battle afar off, the thunder of the captains, and the shouting."

When I was a child, my father introduced me to Breugel’s work and to the work of other imaginative painters from the 15th and 16th centuries, such as Hieronymus Bosch. I think what originally inspired me the most about this particular work by Breugel was how something so morbid and seemingly prophetic could have been painted hundreds of years ago, before some of the worst wars occurred in the history of the world. Of course, I could not help but think to myself, what would a battle as horrifying as the one in Bruegel’s painting sound like?

Perhaps more importantly, what sounds do we associate with battles? The sounds that came to my mind for this piece were drums, trumpets, sirens and explosions, all represented in this highly programmatic work. The combination of winds, brass and percussion seemed to be the perfect vehicle to capture the horrific sounds and gut-turning feelings one might experience during a battle. The only other sounds I needed were instrumental voices meant to represent the sounds of both ignorance and innocence. The sound of a solo violin and a solo flute seemed most appropriate, and these instruments end up framing the entire work.

In this work, I attempt to depict a battle in three connected scenes: armies emerging from far away, an ensuing destructive, chaotic battle and the armies’ final departure. Three marching ?battalions? of military drum and trumpet duos represent the armies. These duos gradually convene toward the stage; the stage represents a battlefield. Once there, a battle begins in which a mostly non-pitched percussion section is highlighted through the use of battle-like sounds. As previously mentioned, two "solos" frame the three middle sections: one on a violin and the other as a duo with flute and violin. (The option of playing the violin part on an oboe is given in the score.) The whole work is essentially in a loose arch form.

The title, Crimson Earth, refers to the bloody color of the earth after battle and the power and heroism people often associate with the color red. However, although many cultures have glorified wars and battles, this is not my goal in this work. Crimson Earth represents the profound sadness that wars ultimately cause, but this work also tries to represent hope.

Part I

• (Violin Solo)
• Melting Chimes of Starlight
• Remembrance of Long Ago Idyllic Youth
• Mini Trumpet Bats, Descending
• Rising Darkness
• Brief Sky Opening, Cry for Absolution

Part II

• Calm before the Storm: Glimpses of Despair
• Three Battalions approach from Afar
• War Sirens
• Battle
• Swells of Sadness
• Three Battalions Retreat
• Ashen Rainbows

Part III

• Memorial to the Sacrificial Dead
• Deserts of Ruin
• Breaths of The Everlasting Rising Phoenix
• Peace Wish

Crimson Earth (for Symphonic Band)

Sonata No. 1 for Violin and Piano
Duration: 20'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1107
Online Perusal Score: https://issuu.com/robertpaterson/docs/sonata.i-vln.pno.-fs-bound-perusal
For More Information: https://robertpaterson.com/sonata-no-1-for-violin-and-piano

PROGRAM NOTE (SHORT VERSION FOR PROGRAMS)
The first movement, Adagio – allegro con uno trotto – adagio begins and ends in a somewhat Romantic style, but with a twist: the end of the movement sounds like a record scratch, as if what you just heard is a track from an old vinyl LP. I became fascinated with the sound of record scratches when I noticed them in many commercials, although this is somewhat ironic since no one really plays records anymore.

The imaginary title of the second movement, Schizando (derived from ‘schizophrenia’) is a word I came up with to describe a musical style centered on fast, abrupt changes. This movement also reveals an obsession with sequences: sequence-like chord patterns decay by gradually becoming more dissonant as they evolve. These sequential sections alternate with “siesta daydream” sections, akin to channel surfing with a remote control. I was recently on the road for two months with my wife Victoria while she was touring, so on a personal level, traveling on the road to a different hotel every week probably influenced how I wrote this movement. We were never in the same place for very long and many of the hotels looked the same. Our lives were not that dramatic. I started craving drama, particularly in the music I listened to, and this probably spilled over into how I wrote this movement.

The third movement, Largo is slow and broad and inspired by the phrase "the weight of the past." There are time markers that delineate certain sections, reminiscent of the ticking of a clock. There are a number of composers whose works influenced me in this movement, such as the later works of Arvo Pärt and the slow movements of some of Beethoven’s sonatas. I was also pre-occupied with wanting to write a movement that contained mostly “open” notes, i.e. half notes, whole notes and double whole notes.

My main influences for the last movement, Allegro con moto are the early formal ideas of Igor Stravinsky, folk-style fiddle playing and jazz. There are a few false starts when piano chords come crashing down and a few somewhat humorous sections. Many of the themes from the previous three movements reappear in this movement.

As with many of my earlier works, my goal was to create a four-movement work in which all of the movements are quite different from each other. In a sense, I view this multi-stylistic approach as the result of wanting to embrace a variety of tools. As a result, as I wrote this I did not have an allegiance to any one particular style, as each one hopefully elicits a certain, distinctive emotional response.

Joy: Music for Violin and Piano

Sonata No. 1 for Violin and Piano - I. Adagio, Allegro Con Uno Trotto, Adagio

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

LOVE

GROK

G.R.S.

A prog rock track about moving on

LYRICS:

No shelter from the rain
For those who helped her to explain

Too tired now to explore any more
Blew the fires out when we saw we were sure

It’s not that you’re kidding me, it’s just that your mask looks too real
I see what I look for, when I watch you my brain slips a gear
It appears you fit me ideally
But your beautiful heart is already separate and healing

We crawl and we walk and we run and we jump and we’re flying
We call and we talk and we sing about something that’s dying

I’m not such a fool, I just have a rule
Don’t cut your loss ‘til it’s over
If you slice it too soon you’re risking a wound to a lover
So what would you say when the fog melts away
And the warmth comes to rest on your shoulder
Would you look at me then and choose me again
Or still walk away with another

Your Beautiful Heart (Dying)

Interstellar

(c) 1999
Guitar, Vocals, Programming, Composing, Mixing, Producing and Mastering by Robert Grigg

Driftin'

SDM is an experimental producer making music using analogue and digital instruments. Keyboard, synths and guitar are his main instruments used to create his unique sound and his exploration into sound design and his favourite DAWS help him explore different genres! Based in Scotland he's always happy to help promote up and coming producers to get their music heard! 


- Maschine Mikro Mk3 🎛
- Traktor pro 3
- AKAI Mini MK2 🎹 
- Maschine 2 
- Reason 10
- Variety of music, sounds & genres
- Making music from home
- Feel free to follow me on Instagram/Spotify/YouTube tiktok.com/@sdmmusicbystephen

G.R.S.

SDM - MusicByStephen

Recent comments

ƖƝƬЄƦƤԼƛƖƝ

tired, senseless

DENNY.

Madness and I

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