Loving the collection of different influences... Even a little bit of Morricone in there! Beautifully put together, nice

Very cool & dark track we could see in a dark fable video game! [via https://sc.repostexchange.com]

Best track I have heard this week, beautiful work.

This  is a really memorable track. I really enjoy the momentum it has. Beautiful

Very nice soundtrack some great melody well arranged mixed and produced

Very cool track.  Love the ambient textures to it.  You guys rock! [via https://sc.repostexchange.com]

Blue Planet (Psychedelic, Tribal)

Six Feet Deep

Stand Up

Eating Variations
for Baritone Voice and Chamber Quintet (Baritone Voice,  Flute, B-flat Clarinet, Violin, Cello, Percussion)
Duration: 9' 
Text by Ron Singer
Performers: American Modern Ensemble; Robert Gardner, Baritone
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1109
Online Perusal Score: https://issuu.com/robertpaterson/docs/eating_variations-fs-bound_perusal
For More Information: https://robertpaterson.com/eating-variations

PROGRAM NOTES
Eating Variations is based on a series of witty poems with the same title by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely, harmonically inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polka-like accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background groove in the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals—to me, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune "band." To paraphrase an interesting email exchange with Singer, we agreed that in this context, the vocalist might represent a contemporary version of a certain species of 60's hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may instead be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

Winter Songs

Eating Variations - III. Even The Dyspeptic Music Eat

Elegy for Two Bassoons and Piano
Duration ca. 10'
Performers: American Modern Ensemble; Charles McCracken and Gilbert DeJean, bassoons; Elizabeth DiFelice, piano
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1073

PROGRAM NOTES (SHORT VERSION — FOR PROGRAMS)
After hearing my music, and in particular, my Sonata for Bassoon and Piano, bassoonist Charles McCracken asked me to write Elegy for two bassoons and piano in memory of his father, Charles P. McCracken, a well-known and highly-regarded cellist in the New York musical community. His only request was that I quote a work that his father loved to play, one of the cello suites by J.S. Bach. I also love Bach’s music, so this was an easy request. I quote Bach’s Fifth Cello Suite, one of his father’s favorite pieces, and also Bach’s Third Cello Suite, a work that Charles Jr. likes, creating a sort of father and son pairing of references. Although Charles described his father as gregarious, fun loving and larger than life, this work is perhaps more earnest than humorous, but with a sense of playfulness in the way I manipulate the musical materials.

Elegy was commissioned by Charles McCracken and Gordon Harris through the American Composers Forum and is written in memory of Charles P. McCracken.

Star Crossing

Elegy for Two Bassoons and Piano

The Likes of This Have Never Been Seen Before ...yet Here We Are Again

Calypso (No Reason to Stay) Pt. 1

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aeon means human

Loudness: -7.1 Lufs
True Peak Max -1DB

Track 2 of 'Distrust' by Ashema.

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experimental, cinematic, instrumental, post-rock band from russia.
for the benefit of almost all living beings. 
cheers.

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