This track was originally composed as the second piece in my concert, Music for Sleeping. It's meant to be heard when you have started to drift into a thick and troubled sleep; to me it evokes thunderclouds rolling through a dark mountain town.

I like slightly oblique titles, and I didn't want to just call it "Storm", so I gave it this name. If you have found it because you are a fan of the football team, I appreciate that it might not be what you were expecting, but I hope you like it anyway, and I would like to say that I meant no offence!

Sturm Graz

ESLCR Overture

Premos Swift Alliance

What Squarecore Is 0.3

This track was an experiment with using beats (like binaural beats, but through loudspeakers, so technically not binaural) musically. They're used much more frequently as sound than music; I think in this piece the listener interprests it more as sound than music. Not really sure why.

It doesn't necessarily make the hypnotic/soothing effect binaural beats are often intended too. This is a stereo version, but the quad version works very interestingly in quad.

55 - 110

This is the demo version of this piece - it's the audio export from Sibelius, the composition program I wrote it in, so all the instruments and the singer are here represented by synth or sampled sounds. 
It is for mezzo-soprano (opera singer) plus flute, oboe, clarinet, bass clarinet; horn, trumpet, trombone; orchestral bass drum, tam-tam (massive gonglike cymbal), timpani, piano; two violins, viola, cello and double bass.
The words, although you can't hear them on this version, are by Nathan Jones.


The End of Those who Made Us (demo)

This track appears on "Amos Disco Music: Vol. 1 - a Treat For Your Feet."

Bright Pink and Green Town Where Everything is OK

Commissioned by Edge Hill University for Alan Dunn's "The Revolution Will Not Be..." project in October 2017, to accompany a dance performance choreographed by Alice Lapworth.

Revolution 9m2mix

This is the music I wrote for my wife to walk down the aisle to.

Organ Of Joy

Every sound in this piece comes either from a sine wave, or Martin Luther King's "I've been to the Mountaintop" speech, made the day before he was murdered.

King 8

This piece uses so much deep bass, especially at the beginning, that it'll be more or less inaudible on computer speakers or small headphones until about 3m in. By the end it gets VERY loud.

Underneath 3 Stereo

This piece was commissioned as part of a project for the Profile Intermedia design conference in Bremen, in I think 2005. Almost all the sounds in this piece (everything apart from the synth cello melody towards the end) are derived from a recording of the 1st movement of Beethoven's 5th symphony, arranged for nine cellos by Alexander Baillie, and performed by his cello ensemble from the Bremen Hoschule. It's a bit clumsy in places (my work I mean, not the cellos!) but I quite like it.

Ludwig V6 2

This is a stereo mix of a track composed for Sennheiser's AMBEO 9.1 surround format (which is essentially, 5.1 with a quad layer at 30 degree elevation).

tomreasmith

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