On the banks of the Buh

seagulls

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

Death Trap final pre-vox

Heat Death Trance Mix

dmv music scene

corrupt/file

bury us beneath the earth

kkloud kkite

dissonant structure

modern lighthouse

WARNING: This is not a song. This is a system crash.
The grand finale of the Russell Nomer Music MITRE ATT&CK saga is here... and it's designed to self-destruct.
The 14th and final track, "Impact," is an experience unlike any other. It begins as a majestic Rock Opera, the villain's triumphant final act. But then... it gets corrupted. The song glitches, stutters, and violently collapses into chaotic Mathcore and harsh Industrial noise, simulating the complete and total destruction of a compromised system.
This is the sound of "Impact"—unsettling, disorienting, and unforgettable. It's the answer to the question: why do we need cybersecurity?
Brace yourself, then hit ❤️ LIKE, 🔃 REPOST if you survived the crash, and describe your reaction to the ending in ONE WORD in the comments!
P.S. To the true connoisseurs of code... take a closer look at the binary on the cover art. There's a final demand waiting.
Credits: Track: Impact Artist: Russell Nomer Released: August 27, 2025 © 2025 Russell Nomer Music. All rights reserved.


Impact
By: Russell Nomer
Copyright Russell Nomer August 27, 2025 All rights reserved
ASCAP Work ID#931792008  ISRC#QT5AM2592008


[Part I: The Manipulation] 
So it comes to this, the final act is played 
The web is woven, all the traps are laid
A little Data Manipulation, a number out of place 
To change the course of history, and leave no single trace 
I'll Inhibit System Recovery, delete the backup files 
There's no turning back the clock, despite your sad denials 

[Part II: The Ransom] 
Now the screen is frozen, with a message clear and bright 
Your Data's Encrypted for Impact, locked up ever so tight! 
A little Financial Theft to make my pockets fat 
Send the bitcoin to the address, or that's the end of tha-a-a-a-t-t-t-t- 

[Part III: The Destruction] 
Data Destruction! DISK WIPE! BURN IT TO THE GROUND! 
ENDPOINT DENIAL OF SERVICE! NOT A SINGLE FUCKING SOUND! 
NETWORK DENIAL OF SERVICE! FLOOD IT 'TIL IT BREAKS! 
FIRMWARE CORRUPTION FOR GOODNESS GRACIOUS SAKES! 
STOP THE SERVICE! SHUT THE SYSTEM DOWN! I'M THE KING OF THIS DEAD TOWN! 

[Part IV: The Corrupted Finale] 
 He's a ma-a-a-ster of di-sas-ter!)
 I'll leave my grand Defacement on your walls so all can see!
  A di-gi-tal mon-ster!
 I'll Remove your Account Acce-e-e-e-ess, take away the key! 
 A le-gend in the da-ark-ness!
 I'll Hijack all your Resour-ur-ur-urces for the whole wide world and me!
 An Email Bombing tribute... for ETERNIT-T-T-T-Y! 



Impact

This track is part of the upcoming album, "Impression du Domaine de Mounoy,". Dedicated to the owners of the aforementioned holiday park. The tranquility, beauty, and friendliness of the estate are unparalleled, as is the hospitality of the owners.

Impression du Domaine de Mounoy

Crazy for Fires And Food

Dissonant Reflection

i've had this idea to make the song around a year ago, but i didn't know how to make music back then so i finally remade the idea and im pretty proud of it. it's also more of a song meant to be played in a game type of setting but i don't have that sort of oportunity so i just wanted to release it

core of uncertainty

[ASMR] UPPER DECKER (ALMOST CAUGHT) | 24 HOUR CHALLENGE !!!

Endless Queue

[NO SURVIVORS] • 1/2 TWO ♱ TEN

DMV / B-ROAD / KROWGOD

Please follow my new releases and consider getting some of my merch at https://unitedmasters.com/a/russell-nomer-music

słowa aims to express visions of existence in a unique, uncontrolled and uncontained way. Each track is different and carefully studied, representing the incredible vastness of being in all its areas and nuances.

Leleka Orchestara — це лабораторія сучасної української музики. Ми змішуємо фольклорні архетипи, електронні структури та поетичні тексти у звукові інсталяції, що відкривають нову естетику.

Це новий український звук: чесний, сирий, експериментальний на межі слова, бітів і почуттів.

Leleka Orchestara is a laboratory of contemporary Ukrainian music. We mix folklore archetypes, electronic structures, and poetic texts into sound installations that open up a new aesthetic.

This is a new Ukrainian sound: honest, raw, experimental on the verge of words, beats and feelings.

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

I compose music for media: theatre, film, ads, podcasts, etc...

Daniël Majoor, also the producer behind the Alio Forte project,  has been involved with electronic music since childhood.

Growing up with the music of Jean Michel Jarre, Vangelis, OMD, Ultravox, Depeche Mode, and later the Ambient scene, he tried to emulate his idols with the few instruments he had. Daniël was primarily interested in sounds and learned to create his own sounds on borrowed synthesizers and keyboards.

Daniël is self-taught, doesn't read music, and taught himself to play.

Later in life, he was able to create his own studio and fulfill his dream: being surrounded by synths and technology, as in the photos of Jarre and Vangelis, while creating his own soundscapes and compositions.

Daniël doesn't see himself as a musician, but rather as someone who "paints" with sound. Just as a painter mixes his colours, Daniel continually experiments with new sounds until he has found the right atmosphere.

New tracks tagged #dissonant