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A dark ballad describing scenes of conflict between two opposing forces, but whilst the fog of war is lifted a conundrum is posed: What if a supposed enemy turns out to be your greatest friend?
Composed January 2015, using Reason 8. This is the instrumental version of the song.
The following sound from Freesound was used:
"Footsteps in the Snow" by magnus589, licensed under Creative Commons Attribution 3.0 Unported (creativecommons.org/licenses/by/3.0/)
A dark ballad describing scenes of conflict between two opposing forces, but whilst the fog of war is lifted a conundrum is posed: What if a supposed enemy turns out to be your greatest friend?
Composed January 2015, using Reason 8.
The following sound from Freesound was used:
"Footsteps in the Snow" by magnus589, licensed under Creative Commons Attribution 3.0 Unported (creativecommons.org/licenses/by/3.0/)
Lyrics
A fearless warrior with un-tamed beasts Gives the order to remove the leash They charge on forward in a stampede He gets crushed and his comrades flee
And through the fog of war, you are my enemy To your reddened eyes, I am your enemy
You shall fight them, you shall beat them Speak no words but leave them screaming March on forwards - never falter Show no mercy - only slaughter
We move as one and kill relentlessly We'll feed the ground the corpses of our enemies Stick to the plan and one-by-one they'll fall down Never be provoked, don't be pushed back - stand your ground
By nightfall, the fog has cleared Scouting alone, footsteps I hear In the darkness, I see you Now the question: Who kills who?
Suddenly I don't believe that you're my enemy And you no longer see me as your enemy
We've known each other for so long, through little time Tell me what's your story and I will tell you mine And through the fog of war you are my enemy But that won't change the fact: You are a friend to me
Gradually transforming from a gentle little melody into a mechanical behemoth, this piece is somewhat symbolic of nature being replaced with factories and machinery. The main instrumentation progressively changes until eventually it becomes a hybrid of natural and artificial sounds which work together in harmony.
Partly inspired by the Einbroch theme, from Ragnarok Online.
If downloading, be aware it's a high-quality FLAC file weighing just under 100MB!
This piece was originally composed quite a few years ago, but was lost. It has been entirely re-constructed based on a handful of excerpts that I had sent to my friend Tom Byrne - whom I am extremely grateful to for keeping hold of these excerpts.
A little background information:
Some time around 2003, I recorded the sound of boats in a harbour on a windy day. Listening to the recording later, I noticed two distinct notes could be heard in the wind. These were originally accompanied by other instruments to form the introduction of this piece. You can hear the harbour wind sound at the end of this version.
Perhaps the main feature of this piece is the distorted violin, which produces a slightly un-natural, gritty sound. This was chosen after seeing someone putting distortion effect on a real violin - which sounded a little unusual. So I wanted to see what I could accomplish with that.
SOUND SAMPLE CREDITS
The following sounds from Freesound were used: "piledriver.wav" by evernaut "hydraul2.wav" by swelk "door_slams_r.wav" by ddohler "PILEDRIVER BINAURAL.wav" by dommygee "hammering12.wav" by WIM
The above sounds are available under the Creative Commons Attribution License (creativecommons.org/licenses/by/3.0/)
Inspired by hacking computer code: A couple of years ago I had a fun task of injecting some computer code into another program in order to extract information from it whilst it was running. I found it quite fascinating.
I started making this track when I was putting together a drum loop for another piece of music I was working on. In the end I used the drum loop for this instead and incorporated some of the more unusual sounds in my collection.
The final part of "Transmission Control", which follows a similar "cyberpunk" theme.
This one's inspired by the observation that modern technology compels us to use it, and how its usefulness and convenience is exploited to benefit large corporations.
It's more dramatic/moody and less intense than the original track in general.
(The beginning is a reversed, lower-tempo version of "Syn".)
Started making this during the middle of the night towards the start of 2016. Felt like doing something different to the styles I've recently explored, and also see what kind of noises I can make by abusing some of the controls in Reason.
It has a bit of a cyberpunk feel to it (perhaps a little inspired by the Deus Ex series of games) with a handful of dubstep elements. I don't normally do "political" songs, but with the foundations of this track laid down I found further inspiration through something I disagree with: our prime minister's stance on encrypted communication.
The quote sampled has been edited down from the original but the essence of it is basically the same: "In our country, do we want to allow a means of communication between people that [...] we cannot read? [...] My answer to that question is: No, we must not."
The title is derived from the acronym "TCP/IP", one of the communication protocols used on the Internet.
A short piano-based prelude to one of my other pieces ("Transmission Control"). I felt the lead melody would work quite well as a stand-alone, more peaceful composition.
A slow, melancholic variation of another piece I'm working on.