Soprano Hayley Boggs and pianist Victor Hugo Morales perform Gary Lloyd Noland's setting of Eduard Mörike's poem VERBORGENHEIT, Op. 1, No. 11 (June 26th, 2023). Upon hearing a recording of this Lied at the composition seminar he taught at Harvard back in 1984, Pulitzer prize winning composer Leon Kirchner declared before his students that this song was "as great as anything by Wagner." Noland's setting of VERBORGENHEIT has been performed by a number of singers and pianists over the past forty years and now, finally, the composer is delighted to present a recording that meets his standards for release on one of his upcoming CD albums. For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

VERBORGENHEIT for soprano & piano, Op. 1, No. 11; poem by Eduard Mörike

Soprano Hayley Boggs and pianist Maryna Buksha perform Gary Lloyd Noland's setting of Alexander Theroux's poem "Winter Wounds" (October 10th, 2023, Op. 148). For more information on the composer, please visit his website at: garynolandcomposer.com

Poem by Alexander Theroux

Imagine the moron
Who is loved
Thinking she deserves
By looks or fame or fate
Another's heart,
And so reserves
Part of what she thinks
She shouldn't give
To her less-deserving mate.
You can take the time,
Queen Pig, to spend
A lifetime as a fop?
We deserve nothing,
Unless everything—
You are certainly
Not enough—
To compensate for all
The lies we're told,
Your haughty huffs.
If someone in the world
Should ever be chosen
To rage against the cold
At the last minute,
The pall of coming death,
It won't be me;
I'll welcome it,
Without deliberation,
Without a reservation,
Winter wounds and all.

Poem copyright 2015 by Alexander Theroux from Collected Poems (published by Fantagraphics). Music copyright © 2019 by Gary Lloyd Noland • 7th Species • BMI

Permission granted by the author to the composer to set his poem to music.

WINTER WOUNDS for soprano & piano, Op. 148; poem by Alexander Theroux

Pianist extraordinaire Maryna Buksha performs LIEBESSCHMERZ FUGE, Op. 95, by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

LIEBESSCHMERZ FUGE for piano, Op. 95

Album version
Composed in 2018

A Dystopian Protest in G#minor

We shall work as slaves, buy new toys and pretend to be free and unburdened.
We will compete, fight and sollicit for scraps and pettings.
They will raise prices faster than we can save.
They will raise the poverty treshold faster than we can run.

We will eat animals stressed in cages, filled with medicine.
We will eat vegetables grown in killing fields.
They control our depression with medicine and institutions.
They allow us to fill the ocean with plastic waste.
They will let us wash our face with micro-plastics.

Children of Tomorrow, you can play the game, adhere to their rules,
but remember: The House always wins.

Music from the Pastic Dark Ages

March of the Modern Society Slaves

March Of The Modern Society Slaves

DMITRI'S GRAVE ROLL

Unlullaby

Unulullaby (full)

Soprano Hayley Boggs, tenor Jonathan Matthews, and pianist Maryna Buksha perform "Show Me Thy Feet," the second of THREE HERRICK SONGS by Gary Lloyd Noland, Op. 97, No. 2 (2010). Poem by Robert Herrick. For more information on the composer, please visit his website at: garynolandcomposer.com

SHOW ME THY FEET for soprano, tenor & piano, Op. 97, No. 2; poem by Robert Herrick

VISPROINTIAMO NO. 3 for piano

VISPROINTIAMO No. 6 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO No. 6 for piano

Raposa, having drank the strongest oleander in all of Khura's domain, sees her brother Roxas for the last time in vision, marching through the brambles with the Dragoon at his back and a strange new power in his hands. Powerful though she may be, she succumbs to the toxicity of the brew. When word of Raposa’s death reaches him mid-march, his heart cracks open. Grief becomes fire. He is bent on vengeance.

In Mercenarium, Seasons is a unit attachment that allows rotation—an adaptive strategy to the inevitability of change. In Dragonfruit, it symbolizes the great cycles of death and rebirth. To flow with change is to be transformed by it.

Seasons is among the album’s most traditional compositions: cinematic, sorrowful and ethereal, anchored by piano and lush, orchestral textures. Originally based on a piece composed by my former partner, its become more poignant. Like its namesake, the track has evolved. 

LYRICS

I can only dream what you
Living all alone will be
Seems there wasn’t much ado
Whatever you meant for me
Dreamers have to stay asleep
Missing most of seasons’
Changed leaves

Bless this restless leg
Don’t forget your place
Broken up and crushed
Nothing left but dust

Love is changing like the seasons
What you wanted has vanished like the leaves
Heartache, holding on in memorium
Blossoms newly blooming
All upon the trees

Seasons

VISPROINTIAMO No. 8 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO No. 8 for piano

Red Rabbit (Instrumental)

FÉLICITÉ, CONSIDERING… by Gary Lloyd Noland (July 14th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

FÉLICITÉ, CONSIDERING…

VISPROINTIAMO No. 9 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO NO. 9 for piano

QUINTET OF PAST REGRETS for harp, marimba, glockenspiel, double bass, and piano by Gary Lloyd Noland (August 8th, 2025)

QUINTET OF PAST REGRETS for harp, marimba, glockenspiel, double bass, and piano

VISPROINTIAMO No. 11 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO NO. 11 for piano

He glows too hard for someone real

Mirror skin and a borrowed smile,
Perfume thick to hide the guile.
Talks in loops, rehearsed replies,
Every truth a cheap disguise.
Gold on wrist, but rust inside,
Every story pre-applied.
Looks like love from far away,
Up close — plastic in the sway.

He’s fake, can’t feel his tone,
He’s fake, made of phone.
Every move’s a masquerade,
Every touch pre-programmed fade.

Filter glow on his perfect face,
Even lies got flawless grace.
Name-drop dreams he never earned,
Plays the saint when the cameras turn.
Heart on feed, but none in bed,
Speaks in quotes that someone said.
All his shine just burns too fast,
A spark designed, never meant to last.

He’s fake, can’t feel his tone,
He’s fake, made of phone.
Every move’s a masquerade,
Every touch pre-programmed fade.

I used to fall for that kind of face,
Symmetry sharp, but empty space.
Now I read the code, not the eyes,
Can’t be fooled by digitized lies.

He’s fake, can’t feel his tone,
He’s fake, made of phone.
Every move’s a masquerade,
Every touch pre-programmed fade.
He’s fake — and now I know,
Real hearts don’t need that glow.

He's fake (Alternative R&B reload)

Fantasia for Cello

The entire sound is in my hands. I write cyber poetry, produce, and compose every track ready for Immersive 3D. Every beat is crafted for spatial and next-gen headphones.
Intimate lyrics, total immersion, every track.

For 30 years I kept unfinished demos to myself, never letting them out. Now I finish what I start and release it the moment it’s alive.

I use every tool available, human or machine, as an instrument.
Technology doesn’t replace creativity. It expands it.

Meditation, Medicine, & Strange and Psychedelic Music

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Composer & Producer of Original Music for Media
Sound Designer, Post-production 

Music Conservatory Graduated Music Producer. Expert in improvisation.

Mythic synthpop for the end of the world.

Anthromancer is the sonic wing of a transmedia myth created by Daniel James Drake—a fusion of game, oracle, and concept album. The debut LP, The Hymnal, scores the fall and rebirth of a fictional civilization, blending icy electronica with poetry into a 13-track spiritual epic.

Our sound is somewhere between The Postal Service, Muse, Aesop Rock, and Nobuo Uematsu, with shades of Röyksopp and our venerable RPG nostalgia. The sound is cinematic, existential, and driven by a hunger to be known.

Support the work through Patreon. Or just listen closely. The secrets are already in the songs.

New tracks tagged #Post-romantic