Una pista que trae sorpresas, voces traidas desde el medioevo y de las culturas americanas nativas, violines sinteticos buscando la expresion, del si mismo,
 
A track with many surprises. This incorpore american native and gregorian voices and  violins searching the expression of yourself..

This Is Yourself (Now on Spotify)

perpetual (single)

Perpetual

Buy/Stream🤮

Slawder - Perpetual [TDC Release]🤢📼

Date: 08/04/2021

https://linktr.ee/MindOfDavid

Wishes

The time has come - my Slaphouse projects are gradually being finished. The first thing is this release ... I love the contrast between thoughtfulness, doubt and self-confidence. 
I like songs with such contras and have become typical of me. 
Hope it reaches you and someone can feel it. 
Have fun

Can Even Sleep

"Empty Jazz" is a dreamy percussion driven track. Inspired by Jazz fusion of the late 70's and early 90s, this track embodies the airy elements of woodwinds with the tinny driving boom bap drums.

Empty Jazz

Deeper Meditations In The Mix With SVR (Sinjin Von Richthofen)

Deeper Meditations - In The Mix With SVR (Sinjin Von Richthofen)

Nobody
Cares for you
Nobody
Talks with you
Nobody 
Watch at you
Nobody
Such if life
Nobody
Stands by you
Nobody
Feels with you
Nobody
Comforts you 
Nobody
Such if life


You feel the beat let forget your sadness
You turn around and around

Feel the grouve
Move your head

Feel The Groove

Blaze Ft. Virtual World, Pawjoeket, and Dog Boy

Crimson Earth for Symphonic Band and Solo Violin
Duration: ca. 14'
Publisher: Bill Holab Music. http://www.billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&zenid=3699359cefb6e31676ed8d068a02c3c4&keyword=crimson+earth
View Score: https://issuu.com/robertpaterson/docs/crimson_earth-fs-color_cover-bound
For More Information: https://robertpaterson.com/crimson-earth 

PROGRAM NOTES
In Crimson Earth, my primary concerns are the exploration of exotic sonorities and textures, the spatial placement of instrumental groups and the process of moving musicians throughout the hall to create interesting textural juxtapositions.

Although no specific programmatic associations are intended in Crimson Earth, two specific references were influential: Pieter Bruegel the Elder’s gruesomely detailed painting The Triumph of Death (c. 1562), and the following short verse I came across in a book of quotations from the Old Testament (Job, Proverbs, 24):

"He swalloweth the ground with fierceness and rage: neither believeth he that it is the sound of the trumpet. He saith among the trumpets, Ha, ha; and he smelleth the battle afar off, the thunder of the captains, and the shouting."

When I was a child, my father introduced me to Breugel’s work and to the work of other imaginative painters from the 15th and 16th centuries, such as Hieronymus Bosch. I think what originally inspired me the most about this particular work by Breugel was how something so morbid and seemingly prophetic could have been painted hundreds of years ago, before some of the worst wars occurred in the history of the world. Of course, I could not help but think to myself, what would a battle as horrifying as the one in Bruegel’s painting sound like?

Perhaps more importantly, what sounds do we associate with battles? The sounds that came to my mind for this piece were drums, trumpets, sirens and explosions, all represented in this highly programmatic work. The combination of winds, brass and percussion seemed to be the perfect vehicle to capture the horrific sounds and gut-turning feelings one might experience during a battle. The only other sounds I needed were instrumental voices meant to represent the sounds of both ignorance and innocence. The sound of a solo violin and a solo flute seemed most appropriate, and these instruments end up framing the entire work.

In this work, I attempt to depict a battle in three connected scenes: armies emerging from far away, an ensuing destructive, chaotic battle and the armies’ final departure. Three marching ?battalions? of military drum and trumpet duos represent the armies. These duos gradually convene toward the stage; the stage represents a battlefield. Once there, a battle begins in which a mostly non-pitched percussion section is highlighted through the use of battle-like sounds. As previously mentioned, two "solos" frame the three middle sections: one on a violin and the other as a duo with flute and violin. (The option of playing the violin part on an oboe is given in the score.) The whole work is essentially in a loose arch form.

The title, Crimson Earth, refers to the bloody color of the earth after battle and the power and heroism people often associate with the color red. However, although many cultures have glorified wars and battles, this is not my goal in this work. Crimson Earth represents the profound sadness that wars ultimately cause, but this work also tries to represent hope.

Part I

• (Violin Solo)
• Melting Chimes of Starlight
• Remembrance of Long Ago Idyllic Youth
• Mini Trumpet Bats, Descending
• Rising Darkness
• Brief Sky Opening, Cry for Absolution

Part II

• Calm before the Storm: Glimpses of Despair
• Three Battalions approach from Afar
• War Sirens
• Battle
• Swells of Sadness
• Three Battalions Retreat
• Ashen Rainbows

Part III

• Memorial to the Sacrificial Dead
• Deserts of Ruin
• Breaths of The Everlasting Rising Phoenix
• Peace Wish

Crimson Earth (for Symphonic Band)

More Than Normal

I started making music in 2011 under the artist name Emenation. After about 2 years of hard work and dedication I was able to release my first electro/dubstep EP with Miami In Tech Records called, "Hallucinations". But I was not satisfied. After working with them I reached out to a label called Electric Fist Records where I released 4 electro and progressive house singles, each of them getting 30 - 60,000 plays each. So naturally I was extremely excited. I felt like I had more momentum than ever. From there I released a song which I'm very proud of. It's called "My Heart ft. Tia Okai". Prior to that I have never worked so hard on a song. (40 hours) But anyway it went on to be supported in Benny Benassi's radio show and his festivals. I was beyond happy at that point. I honestly couldn't believe that I had managed to create something with so much appeal. A couple months later it was supported by the late Eric Morelo as well. So I took my momentum and all the courage I had and messaged a certain underground industrial music legend. Me and him ended up collaborating for awhile. He played our tracks in festivals and it was really cool. But I still wasn't satisfied. I went into a meditative state after that and really thought about what I was doing. This is the birth of the underground artist you know today, as Virtual World.

Blaze Ft. Virtual World, Pawjoeket, and Dog Boy

Virtual World

Recent comments

Related tracks