honestly this track is cool bro i love the piano bro so much talent

A really nice theme and string arrangement. Great work!

Nice job, would be so great to hear t his with real strings! Love the middle section as well.

Always so interesting to hear what you produce, you have such range, this is halting and mournful. Excellent stuff.

Third single from the album -Fight The Feeling
Straight rock/grunge song with heavy riffs 
Lyrics about governmental control and taking action

Firing Line

This dreamy and ethereal track that features a beautiful piano melody, with layers of percussion and synths adding to the sound. As the track progresses, the sound becomes increasingly complex, with different instruments weaving in and out of the mix. The track's melancholic yet uplifting mood is invigorating, and the interplay between the various instruments create a dynamic and evolving sound that is both soothing and engaging.

For commercial and derivative licences, please visit our Pond5 profile, where you can buy this track for a number of additional uses. www.pond5.com/artist/covertacoustics?ref=covertacoustics

Late Night Dew

Through thick and thin, everyone needs those whom they can count on. As in life, the music can get dark and then the light shines through, as we rise to go on with the help of our friends and loved ones.

As you may notice, the cover art harkens back to a familiar cover from 1973 and that is intentional, because Andrea and Rebecca are strongly influenced by music from that time period. Many fans of 8000 Miles’ first album, Aggregate, have remarked on that influence. The title Crystal Confetti represents the clarity 8000 Miles is honing in their duo’s style and the contrast of weighted moods and flying inspirations.

The entire album, Crystal Confetti, has been released on Bandcamp. Go to https://8000miles.bandcamp.com to check it out and follow 8000 Miles on Bandcamp to get first notices of new releases.

\m/ Love Music and Stay Safe <3

Credits:
Rebecca Williams - bass, percussion, synths, production.
Andrea Pierantoni - guitars, production.
Mixing and mastering by Andrea at Never Enough Cowbell Studios.
Cover art by Rebecca
SafeCreative Registration code: 2201300363460
© 2022 8000 Miles All rights reserved.

Crystal Confetti

Count On Me

Buy our Music 🔥

A not so direct shot at how it's supposed to be but a great opportunity to try some new availabilities I have acquired. Most will hate it, I think. Rhythms definitely not standard, but the mix within spec. Questions welcome.

The Man Who Didn't Like To Dance

(UAD - Universal Audio (Plugins)
(DTS - Digital Theatre System (Plugin)
(4 Producers)

Pandora

Pandora (Cinematic)

A push of determination. They will not be conquered. Evil has come, and it pursues its goal with a burning passion. But this wall shall stand.


Soli Deo Gloria!

This Wall Will Stand

Duration: ca. 20'
Music by Robert Paterson • Lyrics by David Cote

Instrumentation: baritone and chamber ensemble (wind doubler [flute, B-flat clarinet, oboe], violin, cello, percussion, piano)
Performed by American Modern Ensemble, Jorell Williams, Baritone

Purchase Sheet Music: (Version for Soprano and Chamber Ensemble): http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2778

Purchase Sheet Music: (Version for Baritone and Chamber Ensemble): http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2777

For more information:
Version for Baritone and Chamber Ensemble: https://robertpaterson.com/in-real-life-ii-version-for-baritone-and-chamber-ensemble
Version for Baritone and Piano: https://robertpaterson.com/in-real-life-ii-version-for-baritone-and-piano

In Real Life I for soprano and chamber ensemble and soprano and piano also available. (In Real Life I consists of different songs than In Real Life II.)

PROGRAM NOTE
As a follow-up to our song cycle for soprano and chamber ensemble (or piano), Robert and I  agreed the concept of five characters looking for love online should have a male counterpart. Written for baritone and chamber ensemble, In Real Life II looks at five contemporary men clicking their way to second chances and romance. In “No Frog” we meet a prototypical player, a guy who fluffs his profile, but the truth keeps slipping out. The tone shifts with “Sola Fide,” in which a U.S. veteran of the war in Afghanistan explains the tattoo on his chest and the wounds inside. An older gentleman envisions one last fling in the irreverent “Die with Me.” In “Still Vamping,” a gay man muses on his start-and-stop romantic history. Finally, in “Nice-Plus,” an everyday guy reveals a hidden passion. In Real Life II was commissioned by American Modern Ensemble with funding from the Doctorow Family Foundation.

American Modern Ensemble: In Real Life

In Real Life II - IV. Still Vamping

La fin du chemin?

Cherry Blossoms

Requisitory

rooftop

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

La fin du chemin?

The Fall of Saigon

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The Infinite Wimshurst

TGSS/Langsämmer /Jünger/ Laxá/The Dark Messiahs

Robert Paterson Composer

The Fall of Saigon

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