Clockwork Gear Spring

Listen to "Kenopsia" and more at
www.emminate.com

Produced, written, arranged, recorded, mixed, and mastered by @emminate

Lyrics:
This is a classic Emminate sound right here
Something antique (yo)
Something vintage (hello, can y'all hear me?)
Kenopsia
I turned all the lights off in my room
And its really dark I can't even see the mic
Like I can barely see my hand in front of me
I can only see it because of the light from the computer (ay)

Its the middle of the night
I'm a say words till I catch me a high
Fuck off during sunrise
Uh
Meditate cause my vape died
Can't tell my friends all the things that I hide
There's something inside of my chest
I'm in love with the sex
And I love how she got three eyes like me
I be fried I be feeling Chinese
Uh Uh
Why you bitchin
Like a fiend I'm itching
For fame
Emminate that is my name

Ay ay
What did you say
No
I can't repeat it done left my brain
Tryna roll up but I can't pick a strain
Two ounces of weed
And you see me on your feed
So why ain't you like my post
I'll leave you burnt out just like some bad toast
I'll outwork you and fuck all your hoes
Ay I got more money and I stay 10 toes
Ay my crew the best you ain't like us bro
Yuh money spread endless
Follow the pendulum give you a pestilence
I be with insects lighting up incense
Emminate really up next
Uh
My fit all black cause its sad
Ay your fit all brown cause you ass
Ay old soul I finished all of my tasks
I put a rose pedal over my left eye
I got a stash of some dead guys
No you can not get inside
Said I locked all the doors and I threw out the key but that's really a lie
I just don't trust people

Like I really don't
Y'all slick and sly as fuck
Stop tryna steal my energy

Kenopsia

emminate

Purchase on iTunes

pendulum

Dark Times

'The Infinite Tick' is a meditative electroacoustic work built entirely from object and field recordings captured over several months on a Tascam recorder. Anchored by the amplified ticking of a cuckoo clock, the piece gradually unfolds into an exploration of time, memory, and perceptual space. Textures shift from raw, lived sonic markers to increasingly abstract soundscapes—granular triangle wave improvisations, spectral manipulations, and processed shop ambiances blur the line between reality and imagination. Influences from Hogwarts Legacy and Manuella Blackburn emerge through lo-fi harmonic themes and spatially dynamic instrument gestures. As my puppy snores, reversed synthesis, and metallic pulses layer and dissolve, the piece ultimately closes with the clock's sudden silence—a stark reminder of time’s indifference.

The Infinite Tick

Music from the Original Motion Picture Soundtrack - Rubber Room

Fanning the Flames

初めて音ゲーに提供した楽曲です、ぜひお聴きを！

Cl0ck is Never End.(old ver.)

人生初音ゲー曲、リメイク版です！

Cl0ck is Never End.（Remake ver.）

As clock mechanisms tick, a certain rhythm arises.

I aimed for a more mysterious style of song this time, with a focus on percussion and SFX. This track sounds a little more video game-y, likely due in part to the very strange sample choice. Also wanted to end things on a major chord this time so it ends happy :)

Instrument Links:
https://onlinesequencer.net/ (Electronic Drum Kit)
https://github.com/sfzinstruments/GTow…rchSamplingProject/
https://modarchive.org/forums/index.php?topic=2406.0 (Requires a torrenting client)
https://www.youtube.com/watch?v=AGjxfx8sy6s&t=207s (Vibrephone)
Ones I can't link directly:
Bells - SGM SoundFont
Buzzing Synth - Mains Hum from Mic
Clock Ticking - Random Stock Sound
Metal Hit - FL Studio default SFX
Riser - My Breath

Inside the Big Clock

Charlie'z Golden Ticket [OFFICIAL]

CLOCK

I had this concept for a song saved for a while, but I finally decided to finish it. I didntn't  put on youtube yet since i am to lazy to make a video for it.

Fake Seconds

11L-clock_ticking_sound

For the ULC (Undertale: Last Corridor) ARG. Not by me. 

Made by XXXXXXXXXXXXXXXX

https://helphelphelphelphelphelp.carrd.co/

FATE (ALT)

Music for a late-game stage in an imaginary spaceflight shmup videogame. Imagine flying through space but it's actually under the down ground. Woah! Where did all of this space come from? Oh, big snakes ate all of the dirt to build their ultimate weapon, and now total planetary implosion is imminent. The snakes have never been lower.

btw yes i know the word is Airspace, but it's my fantasy setting and i get to pick the better sounding word 


Aerospace Beneath the Crust of the Collapsing Planet

Clock It

21 year old sound fanatic
Aspiring film/television composer

Big Daddy was born and raised in the East Bay of the San Francisco Bay Area during the mid 90's.  Growing up on the west coast helped Sean gain the exposure to the underground Bay Area funky house scene.  It also helped him cultivate a rich and diverse musical pallet with major influences including Fatboy Slim, DJ Dan, Carl Cox, and a host of guests at the the regular Funky Techno Tribe parties.  

He moved to Pittsburgh to pursue a career in healthcare IT but during the global pandemic of 2020 discovered his love for mixing and beat matching.  Its no wonder he's a tripped out psychedelic stoner.

Hardcoreと重低音とピアノが大好きなへんてここんぽーざー。

I make games and music but I usually procrastinate.

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

You rock wit me dont stop here follow me on your favorite platform stop playin.... Get hip!

Music available on Spotify, Apple Music,Tidal,iheart Radio,Pandora... Just search Trin Da Dream

KENOPSIA OUT NOW☆𓂀.ᐟ
#WHITEMAGICSIGIL 
#111
@emminatee on ig
2nd account: @yungemmm

really just still in my undertale arc (for wayy too long)
Professional Reuploader
(also check out my playlists they're peak)

New tracks tagged #CLOCK