This track was a (rejected) submission for a pony compilation album, but having not touched it for years, I wanted to release it as-is to serve as a reference point for my skills and technique today and to demonstrate that I haven't completely gone inactive since last I uploaded. At the time of writing, there are several other private tracks in my collection, yet to be released—some are recent album submissions, others are part of a larger self-release.

Iterating on the alternation of dubstep/bass and hardstyle that I'd developed since the Defpon.1 anthems, I designed a massive (no pun intended) number of basses to be used for both drops, with both the classic UK FM dubstep and the melody-centered liquid dubstep inspiring the sections. 5 of those basses are meant to emulate vocoded speech, taking the formant effect of some basses to their extreme, forming the full phrase the track title is part of:

"Yeah I Die Today"

Originally this was just a (joking) catchphrase of a friend, but as the track developed and the darker tones of the basses fleshed themselves out, the catchphrase took on a more ominous connotation, with intonations of depression and nihilism echoing through those words. Combining the theme for the compilation, which centered around Discord, a story was imbued within the phrase, specifically regarding the mental state of Discord in the G5 timeline before he was found by the mane cast. Initially, the feelings around this phrase are taken less seriously in the former sections of the track, but later on, a spark of realization breaks through...

After some challenges incorporating polyphonic melodies to hard dance in previous tracks, I tried to exploit the stereo image to place the lead voices distant from one another, allowing the counterpoint melodies to swing from one side to another. A drawback of this was that the somewhat differing melodic ranges of both voices led to a perceived imbalance that was difficult to allay, but it was an interesting experiment nonetheless.

BPM: 150
Key: F min
Genre: Hardstyle/Dubstep

Kicks made in Vital with heavy processing.
Synth instruments made in Serum, Vital, Helm, NoiseMaker, Dexed, Podolski, MiniSynth, and Sytrus.
Additional synth vocals made using VSTSpeek.
Percussion from Cymatics, Echo Sound Works, Abletunes, The Dugg Funnie Private, Sticks, Sinister Souls artist pack, Synthion artist pack, and FL and Renoise stock.

Mixed and mastered in FL Studio.

Dtr. Guo - Die Today (2023)

Avantgarde android vibes. Yo, this is the scene.
Original concept, vocals, prpts, mix/mast/prod: duudleDreamz
Creative collaborator, vocals: Kezuki Nova

Heart Beats

Breathe In - Breathe Out

"Magic Porcupine" because it mostly uses microtonal scales called "magic" and "porcupine". Tuned in 22edo (22 equal steps per octave). Rhythmically in 15/16 time, mostly in the form 4-4-3-4 repeating.

Scales (and their modes/rotations) used are:

Diatonic 5L2s: In 22edo, 4414441. Sounds close to "normal" 12edo.

Porcupine 1L6s: In 22edo, 3334333. Starting to sound a little odd.

Magic 1L7s: In 22edo, 1511511151. Definitely sounding microtonal. One step of 22edo is 54.5¢, so close to a "quarter tone" of 12edo. Having a few of these in a row can make for some interesting dissonances and spice.

Freiporc: In 22edo, 312312121213. A subset of the 13 note porcupine MOS scale in 22edo. It was in a list on the xenharmonic wiki. I tried it and thought it worked well, but don't know anything more about it.

These four scales are used in that order, then repeat with different notes. Then there's about 8 bars of a scale listed on the wiki's 22edo page called:

2.3.7.11 4-SN octatonic: Described as 32353231 in 22edo. I suppose this is a 22edo approximation of the JI scale of that same name. The JI scale is: 7/6, 14/11, 3/2, 18/11, 7/4, 21/11, 2/1. In the form 1L 4M 2m 1s, with four step sizes: L=33/28, M=12/11, m=77/72, s=22/21.

The outro section is all in Magic scales.

G.30 Magic Porkypine

New piece, back to more energetic and intricate. In 28edo tuning (28 equal steps per octave), and in 28/16 meter. Mostly in counterpoint with melodic lines interwoven or "tangled up" right on top of each other. Plus pads and drums.

Semi-generative in that the "chaotic groove sequencer" program I made in Max generated a lot of the "raw notes", building blocks which I then edited, arranged, and tweaked in many ways. The generative Max program takes a lot of work to set up, organize parameters and parameter presets, and "play". And then a lot more work to edit and change things in an effort to make it sound more "alive". Pretty much every generated note has been tweaked for velocity and duration, and often pitch and rhythm too. Lots of notes were added or deleted as well. The instrumentation, FX, etc, are all done "by hand". The generative stuff is the foundation of the "melodic" voices, which I tried to edit and arrange such that melodies emerge from multiple voices interwoven together. I like the idea of melodies constantly shifting between voices. The drums and pads were added "by hand".

The program generates notes by several methods. Perhaps the most interesting is the "logistic map" equation from chaos math: next-x = r * cur-x (1.0 - cur-x). Depending on the value of the r parameter the output can range from single values repeating to chaos, with islands of interest along the "edge of chaos". I try to find places in the logistic map where there's an ever-changing yet "self-similar" fractal-like feeling. The equation output values between 0-1, which I have Max map to a changing list of pitches in MIDI.

Another interesting method used in Max is having a voice "arpeggiate" though its pitch set—the pitch sets are made from the current scale, transposition, and pitch range, all set by hand and saved in presets per voice. When the number of pitches in the pitch set and/or the arpeggiating sequence pattern is different from the number of notes per 28-step rhythmic loop, the pitches can end up shifting around the rhythm as it loops. When multiple voices do that in different ways the result can be quite complicated and feel somewhat unpredictable.

Being in 28edo tuning, of course I had to use 28/16 meter. An interesting meter as it can just be 7/4 or a whole bunch of more complicated metric patterns, like 7/8 twice per loop, or 7/16 four times per loop, or a bunch of other patterns.

Scales used, with various modulations, in order use use: Tetrawood 4L4s (4 equally large steps and four equally small steps) mode 43434343 (steps of 28edo), Diasem 5L2m2s RH mode 414434143 (diasem is chiral so has "right-handed" and "left-handed" forms), Diasem LH mode 441434143, Diasem RH mode 414434143, "Minor" (5254345), Dietic Minor 4L3m3s mode 4134413413, Omnidiatonic 2L3m2s RH mode 4642642 (another chiral scale form), Diasem mode 143414434, "Minor".

Or more simply put: The track uses scales of 28edo known as Tetrawood, Diasem, "Minor", Dietic Minor, and Omnidiatonic. The scale called "minor" is, as far as I know, basically 28edo's best approximation of "normal" diatonic. Except it uses four different step sizes. Still it seems to sound pretty much like normal 12edo diatonic, at least on this track. Funny how my ear can't really tell there are extra step sizes compared to 12edo diatonic.

Also on my youtube channel: www.youtube.com/@duckapus424

Images made in midjourney. Just me trying to get midjourney to do strange and unexpected things. 

G.31 Crazy 28 (28edo)

“Goodnight Irene” gets a totally new life in this 1980s Billy Joel styled–inspired sax-pop revival!  Originally written by Leadbelly (Huddie Ledbetter) back in 1933, this timeless folk classic was made famous by The Weavers, who took it all the way to #1 on the charts in 1950.

Now, in 2025, Johnny Punish and MarcyElle reimagine the song as a playful, hook-filled pop duet—complete with soaring saxophone riffs, a McCartney-style counterpoint vocal, and a sassy new story twist.

This “Irene” isn’t just a dream girl—she’s a modern runaway heartbreaker, strutting down the boulevard in pink boots, stealing hearts and rewriting the legend.  Johnny delivers the soulful lead, while MarcyElle’s bridge and background vocals bring Irene’s world to life in vibrant neon.

🎧 A tribute to the past, built for the present—where vintage soul meets 80s pop fire.

LYRICS

Irene goodnight
Irene goodnight 
Goodnight Irene
Goodnight Irene 
I'll see you in my dreams 

Last Saturday night we got married
You said it was the thing to do 
But when the booze wore down I saw Parson Brown
Runaway in an Elvis suit

Irene goodnight
Irene goodnight 
Goodnight Irene
This is so obscene
I'll see you in my dreams

Sometimes I see you on the boulevard
Dressed in hot pink n boots
Mom said you worked at the five n dime
But I think you're in cahoots

Irene goodnight
Irene goodnight 
Goodnight Irene
You're so extreme
I'll see you in my dreams 

Hey
Move Me
Oh Yeah, Mmm
Don't Stop
 
I walk the streets and the alley ways that's how I play
I am not your girl I will always stray I'm a runaway

I walk the streets and the alley ways that's how I play
  goodnight Irene, goodnight Irene
I am not your girl I will always stray I'm a runaway
  goodnight Irene, goodnight Irene

I walk the streets and the alley ways that's how I play
  goodnight Irene, goodnight Irene
  Frère Jacques
I am not your girl I will always stray I'm a runaway
  goodnight Irene, goodnight Irene
  Frère Jacques

Irene good-night
Irene good-night 
Goodnight Irene
You're the best I've seen
I'll see you in my dreams 

Irene goodnight
Irene goodnight 
Goodnight Irene
You're the best I've seen
I'll see you in my dreams 
I'll see you in my dreams 
I'll see you in my dreams 

------------------------------------------
Credits
Written by Huddie William Ledbetter (Leadbelly) 1933
Popularized by The Weavers, 1950
Performed by Johnny Punish & MarcyElle
Produced by Punish Studios

🛠 Song Creation Tools:
FL Studio • Custom Kits • Suno • Waves Plugins

🎬 Video Creation Tools:
HeyGen • Filmora • Vizzy • Canva

🔑 Keywords / Tags:
Johnny Punish, MarcyElle, Goodnight Irene 2025, Goodnight Irene cover, Leadbelly, The Weavers, Billy Joel style, 1980s pop rock, saxophone pop, retro revival, indie pop, modern folk pop, classic cover, counterpoint vocals, 80s sax, pop duet, reimagined classics, vintage soul, street romance, runaway girl, boulevard dream, neon love story, music remake, pop storytelling

#GoodnightIrene #JohnnyPunish #MarcyElle #Leadbelly #TheWeavers #BillyJoelVibes #80sPop #SaxPop #RetroRevival #PopDuet #IndiePop #ClassicCover #VintagePop #FolkRock #ReimaginedClassics #NeonRomance #RunawayGirl #SeeYouInMyDreams

GoodNight Irene

LIttle Cannon C major

No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell; 
Nay, if you read this line, remember not
The hand that writ it; for I love you so, 
That I in your sweet thoughts would be forgot, 
If thinking on me then should make you woe.
O, if (I say) you look upon this verse, 
When I (perhaps) compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
Lest the wise world should look into your moan, 
And mock you with me after I am gone.

- William Shakespeare

https://youtu.be/CDp92r5akTg

Sonnet 71

20241230 fugue

A full-length orchestral narrative told in twenty movements, blending the architecture of early counterpoint with the tension of a crime drama. Each track unfolds like a chapter in a case file: solemn organ and strings open the investigation, harpsichord patterns tick like forensic clocks, and solo lines for cello, violin, oboe, and continuo sketch the emotional terrain of detectives, witnesses, suspects, and shifting clues.

The middle movements tighten into layered fugues, sharp dances, and atmospheric recitatives as evidence accumulates and motives collide. Elegant misdirections, analytical motifs, and shadowed harmonies push the story deeper into confrontation and revelation.

The final stretch builds toward judgment: a rising passacaglia, triumphant brass, and a canon of interlocking voices. The closing fugue gathers every motif in the album, weaving them into a towering resolution where each theme finds its place in the larger design. A full dramatic arc captured entirely through acoustic instruments, structural clarity, and noir-infused gravitas.

Courtroom Passacaglia

Aftermath Elegy

Heart Beats Remix

Breathe In - Breathe Out - Remix

Sparks and Fire



Following a chat with a friend on the subject of Lunar expression, its rhythms, influences, light, and darkness. This short string piece improvised itself, which I post here, along with assorted musical sketches . Anyone wishing to hopefully connect with this soundscape is requested to do so using headphones.


Lunar Sea

Avantgarde, Mock Opera, Art/Symphonic Rock android vibes. Yo, this is the scene.
Original concept, vocals, prpts, mix/mast/prod: duudleDreamz
Creative collaborator, vocals: Kezuki Nova

Heart Beats dD Remix

Breathe In - Breathe Out - Remix 2

Another short spiral round, this time in 53edo!

Created for the Tuning of the Month Club, November 2025.

Ladderly

Latent

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Weaving moods, sounds, harmonies, emotions, rhythms into tunes. Inspired by life, moments and everything in between.

Volant Records is a story-driven label and shared universe: cinematic concept albums, stutter-house, western sagas, haunted pop, and hymn-like instrumentals. Home to Jupiter Morrow, Avaline Ingels, Shadow Face, Buck Ramble, Choralith and more. All Worlds Reserved®.

A dimension traveller roaming across the cosmos, spreading the world of hard to their inhabitants as I go. 

Vive la Frenchcore, Frenchcore worldwide!

PM me for my email if you'd like to contact me formally.

MUSIC INTEGRITY! Punish Studios creates music that matters written by REAL HUMAN BEINGS! Created by artist Johnny Punish in 2008, Punish Studios is committed to creating outstanding media and music in the Rock, Country, and Hip-Hop genres.  Along with traditional studio recording techniques, we use A.I. to enhance our well-crafted-human-written songs.  Our writers are members of ASCAP.  For more detailed information, please www.PunishStudios.com

New tracks tagged #Counterpoint