Nice trumpet with effects! I have two tracks where I've used effects on my trumpet, Nodes and Complex 17.

@dj-tattoo: Thanks, Zolee! Merry Christmas to you as well.

Avant-Garde/Experimental

Free form composition for ride cymbals, rain stick, electric bass, celesta and two guitars (both with a decent amount of reverb, and one colored with the time-based effect of delay as well).  This piece can be played in any way as long as the specific instruments are used and the requirements are met.  The rule of this piece is to play for however long the musicians please and however the musicians want to play; the piece should be influenced by the instruments and their sound relationships when played together.

Deep Woods

For specific percussive instruments.  This piece displays the interesting quality of sound that percussion creates when it is music by itself.  I will gladly work with writing for percussion instruments for the rest of my life as it is fun; and I find it evokes a certain mood that isn't at all dramatic, which is something I like from music.  Expect more music for percussion in the future.

Music For Percussion #1

I enjoy the sound of dissonance and low bass rumbling.  This song includes just that, as well as two awkward sounding prepared guitars that truly complete the confusion within this piece.  I don't even know what to say about this song.  It was the product of a morning of watching Bill Maher, The Ricky Gervais Show and The Life And Times Of Tim, along with two cups of coffee.  Sometimes the most interesting efforts are achieved spontaneously and without hesitation.

Iliel

for guitar, bass and drums.  The guitar has been tuned to sound just awful, coupled with distortion to give that awfulness some life.  This trio piece is like a fusion of the first two trios I have posted. Enjoy!

Trio #3

I have so many instruments and vst's in this that this is what Logic Pro continually kept shouting at me throughout my production. System Overload! Sytem Overload! You should consider yourself lucky that I finished the song before I decided to throw my computer outta of the window! Just saying...

System Overload

I was just exploring the built-in vocoder in Logic, and then this happened.

I'm Not a Monster

Dreamscape is a piece I spent about 120 hours working on. It has two large sections that both span about 11 minutes (A and B). Each macro section is roughly broken up in five smaller components; a, a', b, c, a''.Each of these macro sections represent a specific processes and textural shifts that both of the themes undergo throughout the piece. All of the primary thematic material is made clear by the prescense of text.

Both stanzas of text experience gradual change in this linear fashion: the original theme exposes itself, it then repeats with more emphasis on experimental sound design and drum/bass content. Shortly after the restatement of these themes, they dissolve into an orchestral texture spattered with ambience and accessory melodic instruments. Each of these orchestral textures die out into a period of evolving ambience that leads into a marimba cadenza (c). Each marimba cadenza climaxes into a hyper aggressive restatement of the theme it belongs to.

I tried experimenting with a process like approach to some of the harmony in this piece. The harmony for the primary and secondary themes are derived through formalist like treatment of chromatic mediants. The first theme, I sequence maj9 chords up by a m3, down by a M3. Resulting in a maj9 shape that meanders down by halfsteps. When I finally sequence back to the original root that started the process, the harmony begins to tonicize that region to prepare for a cadence to restart or end the thematic content. The second theme is the complete opposite of the first theme, I sequenced m9 chords up by a M3 and down by a m3. Resulting in a completely different sonority shape climbing in the opposite direction.

To emphasize this difference in thematic ideas, I tried to make each macro section polarizingly opposite. For the A theme's orchestral texture, I explored a lot of altered dominants in minor modes utilizing phyrgian and dorian. The B theme's orchestral texture contrasts this by utilizing the major modes lydian/ionian. Each of the ambient sections are also constructed out of contrasting sonority structures.

In short, the piece is constructed from two primary thematic ideas that undergo the same type of gradual change, just in contrasting colors! And as harmony is viewed as tension and release, I tried to organize my sounds in a way that each constructed sound has it's own dramatic shape based on the sounds that precede and follow each other just like harmony.

"A world by code,
dig for answers of who we are.
life flows by,
stand and watch it pass by you.
hauntingly beautiful patterns and symmetry
provide an illusion of intention
discover your place.

Fading in, fading out,
Dreaming while floating down.
I've found a telescope to gaze away
fleeting images fill my eye piece.
weaved throughout each scene
are these beautiful patterns and symmetries
I came across a ring of keys,
to liberate the these stars and galaxies
gazing away in silent self reflection
fracturing pieces of me."

DREAMSURA [Track 4 from Dreamsura]

thanks to daft punk and miles davis for dem samples.
Produced by Spencer Peterson

Right Time (Featuring Pooh Bear)

Because we love you; this is a free download - hit the arrow above for the mp3!

iTunes: https://itunes.apple.com/us/album/black-magic/id570704966 
Beatport: http://www.beatport.com/release/black-magic/986237

Facebook.com/killthenoise 
Twitter.com/killthenoise

Facebook.com/youfeedme 
Twitter.com/feedme

OWSLA.com 
twitter.com/OWSLAofficial

Kill The Noise & Feed Me - Thumbs Up (For Rock N' Roll)

Last Dance (mastered)

This is a track that I recorded with my friends Todd Martino, Mark Gardner and Nick Jozwiak at the Blue Door Studios of Noah Guttell.

Todd, Mark and I met as undergraduates studying music, electrical engineering and microbiology at Arizona State University. Inspired by the common musical reasoning that emerged nearly instantaneously upon beginning to play with one another, we collected hours of live improvisations over a period of three weeks and distilled them into our self-titled album "haploid 23": http://www.cdbaby.com/cd/haploid23

I hope you enjoy this track which relates our perspective on the global financial crisis which overshadowed our college years.

Live velociraptors can be found here: http://www.youtube.com/watch?v=UVjgwWJGP8I

Download from CDBaby

subprime velociraptor crisis

Words & Music by Elle Winston. Produced by D.C. Soulplusmind. 

Waitin' On

A Million Years

The System

Composed by William M. Heller

CREDITS:

William M. Heller (composer, musician, vocals)
Matthew Gallerani (musician, vocals) 
Luca Veca (musician) 

​© 2013 William M. Heller

All Rights Reserved

This is the full version (about 25 minutes) of the track Laudanum Gate off of William M Heller's new album of the same name. The album consists of only this track that spans the entire length of the album.

Laudanum Gate is an avant-garde musical composition that aims to touch at the dark absurdity behind alchemical and hermetic character and practice. It is an isolating experience and it hearkens upon sickness, hollow meditation, the dark voice of manipulation, the animal, and the ominous quality of matter and nature in existence.

Laudanum Gate

Research and Business w. Machines and Data :: Chief AI Officer / Research Scientist / Author / Keynote Speaker / Bass

subprime velociraptor crisis

Steve Limpert

Recent comments

sksskh

Soaham Ganguly

James Murff

FingersLab.mx

Related tracks