This is great song. love the vibe/sound. Vocals are very cool.

Very interesting and catchy, well done mate

Reminds me of 2000s Oasis this one - it's got a a real swagger

such a cool crunchy tone! great job...digging it!

Cool rock 🪨 tune you have yourself here.

Nice groove and I like that opening bass riff.  Vocals sound great.

good track, love the overdriven sound and the voice

@hussein-al-janaby-121999 oosh man cheers mate

Nice guitars...cool voicings. Great song.

Recorded online on Soundtrap: https://www.soundtrap.com

28 weeks later ( remix )

The Mighty Oosh -

We always wanted to make a song that was a bit more punk. Something that sounds like The Hive. Now we've succeeded. Do you think so too?
There's also a song by the German band Tocotronic that has similar elements (Gehen die Leute). 
I'm particularly pleased that I was able to include a little bass solo.

Without a Hat

This song let you feel light. Almost like birds flying in the sky.

LeichterSinkflug

Symphony in Three Movements for Orchestra
Duration: 19’
Mostly Modern Festival, American Modern Orchestra, Chris Rountree, 2018 Faculty Conductor
Skidmore College, Arthur Zankel Music Hall, Saratoga Springs, New York (USA), 6/10/2018
Commissioned by the Cayuga Chamber Orchestra for their 25th Anniversary Concert, Kimbo Ishii-Eto, conductor
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1339
For More Information: https://robertpaterson.com/symphony-in-three-movements

PROGRAM NOTES
The first movement, Bright and jubilant, is generally cheerful and upbeat, but occasional clouds of gray cast shadows over the musical surface. I associate this movement with traveling to a lover, and particularly over great distances. The brightness of this movement also subtly reflects the "silver anniversary" occasion for which this work was originally commissioned.

The slow second movement, Serenade, represents the unique intimacy that lovers share. Most string players in a chamber orchestra—even the first stands—never have a chance to play exposed material. This is interesting because although the string sections most often play as homogenous groups, the first stands of the string section are in an arc have an intimate view of each other. In this movement, the first stands of the violins, violas and cellos all have solo material whereas the rest of the strings often play gentle, long trills. My goal in to give all of the string players in the first stands an opportunity to shine.

The third movement, entitled Dancing games, is the most energetic of the three. It is has quirky, dance-like rhythms and a strong sense of pulse. In this movement, I imagine two lovers engaging in a bickering, yet friendly verbal dance match, their playful sentences bantered and volleyed back and forth like some sort of demented game of badminton in fast-forward mode. I suppose this would mean that the kind of dance I am imagining here is not one that you would necessarily move your feet to, but one meant for listening and that makes your insides want to move and shake.

Symphony in Three Movements - III. Dancing Games

Wind Quintet
Duration: 18'
Commissioned by Quintet of the Americas; Underwritten by the American Composers Forum with funds provided by the Jerome Foundation
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=909

PROGRAM NOTES
All of the movements of this wind quintet are connected and inspired in some way by American icons, surrealism, collage, post-1950s imagery and suburbia.

The first movement, Andante, begins with the ending and ends at the beginning. Some instruments mimic others and just when you think an idea might go in one direction, it goes in another. I gleaned many of my ideas from studying cinematic character development and the unusual forms used in many modern films such as the 1994 film Pulp Fiction by Quentin Tarantino.

The second movement, Suburban waltz-fantasy, contains quotes from 1960s-70s TV show themes: The Jetsons, All in the Family, Green Acres, The Dick Van Dyke Show, The Brady Bunch and Leave It To Beaver. The movement begins with a waltz-like feel and two of the players mimicking “suburban chicken lady housewives cackle-gossiping across a backyard fence.” An obnoxious stray dog interjects with loud barking and then the movement takes off in a different direction. Some of the quotes are re-composed to sound like bird songs, others are textural and a few are so subtle that they are not easy to discern. Some of the parts even sound like they are mocking each other. This movement is a strange, surrealist collage.

The most immediate and obvious reference in the title of the third movement, Melting Clocks, is to Salvador Dali’s famous 1931 painting The Persistence of Memory in which there are images of melting or limp watches. I imagine a room full of clocks all ticking away, yet slightly inaccurately, the “baby clocks” a little faster than the “old grandfather clocks.” The middle section contains a few brief quotes form the first movement, and the “slightly melted” end of the movement brings back the cuckoo, but this time it melts as if it is in a house consumed by fire.

The fourth movement, Klezmeshugeh, derives its title from my combining the words ‘klezmer’—which is a combination of the two Hebrew words, kley and zemer, meaning ‘instrument of song’—and meshugeh, which is a Yiddish word meaning ‘crazy’. Essentially, this made-up title means “crazy instrument song.” In this movement, there are a few “wrong notes” that allude to the players pretending to sight-read. The end also concludes with a few thematic fragments from the second movement.

Wind Quintet was commissioned by Quintet of the Americas and underwritten by the American Composers Forum with funds provided by the Jerome Foundation.

Wind Quintet - I. Andante

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POST PUNK TYPE X GOTHIC ROCK TYPE X DARKWAVE TYPE X NEW WAVE TYPE X ALTERNATIVE ROCK TYPE BEAT

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HYPNOTIC FIRE (industrial Rock x goth Rock type Beat INSTRUMENTAL)

Another acoustic track about teenage folly, loss of innocence and peer pressure

LYRICS:

When we were young we felt so strong
The songs we sung, the words were wrong

Tell us a story of your broken hearts
When the water turns black and the ocean parts
Follow your leader on up to the park
And we can all stand by as your eyes go dark

When you were young you grazed your knee
You couldn’t tell, they couldn’t see

The Mighty Oosh -

82 ( Ian Willis )

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82 ( Ian Willis )

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