Name: Invocation of the Misanthropic by kg.sound.design in Tracks I like
Duration: 51 s
Description: Music for an on stage horror play, dark days ahead.

Tracks I like

Buy 'Passing Through The Wall' by Zevious @
AMAZON (digital & physical): http://amzn.com/B00E334J9I
WAYSIDE MUSIC (physical - ships worldwide): http://www.waysidemusic.com/Music-Products/Zevious---Passing-Through-The-Wall__Rune-spc-367.aspx
ITUNES (digital): https://itunes.apple.com/us/album/passing-through-the-wall/id687622587
BANDCAMP (hi-fi digital): http://cuneiformrecords.bandcamp.com/album/passing-through-the-wall

“Zevious split the difference between the Tony Williams Lifetime and the 80s Downtown scene...[they make] algebraic music feel wholly organic , almost swinging."
– Jazz Times

"...Zevious is for anyone who loves aggressive, rock-oriented improv with grooves and some semblance of a song...these guys put their music degrees to work...letting us know that being intense doesn't mean you can't have arrangements and following a script doesn't mean you can't let your hair down."
– DownBeat

Zevious are a trio—guitarist Mike Eber, drummer Jeff Eber (cousins, not brothers), and bassist Johnny DeBlase. They started out as jazzbos in 2006, but they got over it; they "went electric," as the old folks say, with DeBlase putting down his upright bass and Mike Eber picking up the Telecaster that gives his tightly knotted lines their sting. The music they wrote shifted from jazz chords and head-nodding swing to tumbling, noisy rock that recalls instrumental-skronk powerhouses like Don Caballero, the Nels Cline Singers, Dysrhythmia (for whom Jeff also plays), Behold…The Arctopus, Hyrrokkin, King Crimson (circa 1975), James “Blood” Ulmer, and more.

Their first release for Cuneiform, After The Air Raid, rightly gained them a lot of attention for their modern and powerful approach to electric jazz. The group gathered good press and enthusiastic audiences, as the band spent a good bit of 2010 and 2011 touring.

According to the band, the goal on 'Passing Through The Wall' is to induce a trance-like state in the listener through repetition, non-conventional melody and challenging song structure. The compositions are based around large cycles of layered poly-rhythmic patterns against octave displaced melodies; the individual parts working together to create dense, pulsating textures. The title 'Passing Through The Wall' is fitting for the music on this album because the band is challenging the listener to literally “pass through a wall” of sound, transforming their state of mind in the process. As Mike explains, "Every piece that we write, we’re trying to explore a particular concept, and on this album we really tried to play with layered time. So at some point or throughout entire tracks, we’re actually playing in three time signatures at once—I might be in one, Johnny’s in another, Jeff is playing both and then on top of that, another one."

On 'Passing Through The Wall,' the trio is tighter, crazier and more intense than ever and this is certainly their greatest achievement to date. Working once more with engineer Colin Marston (Behold… The Arctopus, Dysrhythmia), their live sound has been clearly and accurately captured in all its hugely roaring, polymetric glory! It's a ferocious 48-minute slab of muscular, intelligent instrumental music that breaks musical and stylistic barriers.

Zevious, "Entanglement" from 'Passing Through The Wall' (Cuneiform Records)

Produced by Soap&Skin
original written by Omar Souleyman
mastered by Patrick Pulsinger

SOAP&SKIN - MAWAL JAMAR

Original by @pianobench (https://soundcloud.com/pianobench/alterego-demo-little-ripper-boy-daisy)
Original singer: Daisy (Engine: Alter/Ego)
--
Sorry if I messed up on some parts! (My mixing needs a little work oops)
It was a kinda rushed cover since I've been a bit busy lately with school and such!
I hope you guys like it though!

Also I'm taking singing requests, so feel free to pm me *'3')9

(I Sing) Little Ripper Boy (Cover)

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Music for an on stage horror play, dark days ahead.

Invocation of the Misanthropic

“Made up of three highly distinctive voices in the world of jazz and avant-garde music, Thumbscrew should probably collapse under the weight of its own star power but Tomas Fujiwara (drums), Mary Halvorson (electric guitar) and Michael Formanek (acoustic bass) are just too aware of the potential of this supertrio to let that happen.” – S. Victor Aaron, Something Else!

Michael Formanek - bass 
Tomas Fujiwara – drums 
Mary Halvorson – guitar

Thumbscrew demonstrates their unique collective musical vision in contrasting but complementary ways on two exciting new CDs. Ours and Theirs are the first to be released on a newly revamped Cuneiform Records, just returning from a hiatus. Comprised of longtime collaborators Michael Formanek, Tomas Fujiwara, and Mary Halvorson, Thumbscrew is a true collaborative effort with all three members contributing at an equal rate both in terms of composition and improvisation.

Born out of a residency at Pittsburgh’s City of Asylum where Thumbscrew created their striking second album Convallaria, Ours and Theirs showcase Thumbscrew in two different contexts performing all originals on Ours and all covers on Theirs. Both albums present a meticulous and intuitive original sound that could only be crafted during focused and intensive time as a collective in a place like City of Asylum. “When we arrived at City of Asylum for our second residency in June 2017, we immediately said, ’we’re home!’” says Fujiwara, “The feelings we get when being at City of Asylum, around the people that make it such a unique place doing great work...All of this contributes to a creative process that’s open and inclusive and experimental.”
Tomas, Michael, and Mary are no strangers to each other’s work, having performed in a multitude of projects together, including Michael Formanek’s Ensemble Kolossus, Tomas Fujiwara and the Hook Up’s After All is Said, and most recently, in Mary Halvorson’s critically-acclaimed Code Girl.

Theirs features covers penned by venerable composers, from North American jazz legends Benny Golson and Wayne Shorter, to South American composers Julio De Caro (Argentina) and Jacob Do Bandolim (Brazil), to songwriter Evelyn Danzig and Dutch avant-gardist Misha Mengelberg. Thumbscrew covers considerable ground in bringing their unique arrangements and ensemble sensibility to this transfixing set of other composers’ music. On the selection of covers, Fujiwara says, “Each of us brought in a number of covers--more than double what we ended up releasing--that we were curious for Thumbscrew to try. We played through each composition many times, trying different arrangements, and slowly started to focus in on which ones felt right for the group.” Formanek states that “for me it was mostly a matter of which tunes I thought would have strong enough bones to sustain a Thumbscrew interpretation. It was also a matter of imagining how certain pieces would work with Mary, Tomas, and my approaches that wouldn’t sound like just another version.”

On the contrast between the two records, Halvorson says, “The difference is that with the covers we’re aware of trying to honor the composer’s vision, and in many cases, classic versions of the song which serve as inspirations.”

Thumbscrew,  "Words That Rhyme With Spangle" from 'Ours' (Cuneiform Records)

Tapestry (Demo)

Michael Palmieri © 2020

Violin, Accordion, Piano & Double Bass

Little White Lies - Tango

Fïx8:Sëd8 - Post Mortem Apocalypse (live edit)

This is my submission for this month's OSC by KVRAudio. I have used 7 Instances of Qyooo VST by FBM to make this track. FX used are combination of FL Studio's native plugins and free third party VSTs (details of which given in the KVRAudio's OSC thread).

Celebration EP

Alpha Centauri

*Watermarked for licensing purposes. Interested in purchasing? Click on my Audiojungle link* 

March style composition featuring cinematic style percussion, hits, biting low brass, and a lovely trumpet counter-melody in the last "A" section.

Procession of Souls

TENET - Official Trailer Music | Trailer Music Version

A short cinematic piece with atmospheric piano, layers of minimalism, droning resonance, and some nice thick, but soft low hits.

From The Ashes

] Peter:H [ is sound and music. the fabric is curiosity, challenges and love for exploration.
] Peter:H [ combines colorful frequencies, fragrant textures and tasteful rhythms always seeking for new sonic experience.
] Peter:H [ is on a journey and want's to invite the listener to join for a little while to travel together.

Hi, thank you for taking the time to read this. My name is Kevin Gamble, and I am a lover of all things audio. I wear many hats in this industry from film audio post production, to music mixing and producing. When I am not working on audio, I am writing music on my 1976 custom tuned Ovation.

Invocation of the Misanthropic

kg.sound.design

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