sineunknown

I wrote this song 4 years ago. I never published it. I'm actually lucky I rediscovered it - I really enjoyed making it. It set everything in motion for my 7th album.

Boy, it's been a while. I spent a couple years focusing on, well, pretty much everything but music - but, that's changing today. This is a remix of a track from Megaman X4, an old PSX game. This is a VERY rough draft - in fact, it's my irst time using Studio One - I've been tooling around with it for only a few hours now. I'd say it's a good start. The drums still drive me a bit crazy on this mix, and there are odds and ends to hammer out, but.. I am okay with the result.

Boy, it's been a while. I spent a couple years focusing on, well, pretty much everything but music - but, that's changing today. This is a remix of a track from Megaman X4, an old PSX game. This is a VERY rough draft - in fact, it's my irst time using Studio One - I've been tooling around with it for only a few hours now. I'd say it's a good start. The drums still drive me a bit crazy on this mix, and there are odds and ends to hammer out, but.. I am okay with the result.

It's been a long time coming - after many months of being in the world's worst creative block - I decided to write a track as a reflection of what has been a very turbulent 2016 around the world. This track is very dissonant, yet has a certain fragility and beauty to it. Hope you enjoy.

Trying to go with a bit of a "less is more" approach with my music - and to really try to take that to a new depth, I've written this song using a production approach completely unique to me. I didn't write the song based off of a bassline - actually, there wasn't a true bassline written. Just an 808 kit to carry things along very nicely. A relatively peaceful, relaxing track - for my standards.

Mastered version of this track - enjoy :)

This track stems from more of my recent studying of theory. This track is strongly rooted in a double harmonic scale, which is your typical "middle eastern" scale. It's a really difficult scale to work with because everything is so dissonant; so, there's a lot of transitions to build into a coherent sound. It works out well.

"In Times of War" - the name of the track fits the sound. I've been diving into music theory again, and I'm experimenting with some lesser used modes of music to come up with some really cool ideas. I wrote this song using F Sharp Minor, in Phrygian mode, and that gives it a really uncomfortable and ominous sound. The track is still catchy - I made sure of that. Just not settlingly so. Enjoy.

Alright, so this track is one of the coolest tracks I've done. I fell in love with the melody I wrote on this track. My production approach has adjusted quite a bit to come up with something new while acknowledging the roots of my old music.

Okay, so why not post two? I apologize for the brevity on the background of these tracks... but, let's just say.. I'm writing my 12th album...

A bit of a work in progress.... enjoy :)

Finally completed it. Night Terrors is wrapped up. And this is a great final track to have written for it. Incredibly melodic, this track definitely stands apart from the rest of the album, as it's accessible, melodic - it's not nearly as ugly as most of the other tracks on the album. The track symbolizes hope on the album. Coincidentally.. this is the last song I'll ever have written in Texas.

What a day. Got let go at work - so this is the song I'm writing in response to that. It's a completely dejected, weird, and unsettling track. It's the perfect summary of how I feel with the situation. The track is very dissonant in many places, on purpose. This is not a song that the "high moments" will lead you somewhere comfortable - but somewhere different, instead.

This song is a bit of an ode to modular synthesizers. All of the sounds created on this track were by using a modular emulator on an analog rack to create a very complex track. The majority of "Night Terrors" has been minimalist - this song sounds minimalistic, but it is quite complex.

It's been a while since I've made a track. It's been one of those years. Fortunately, this one turned out well. All things considered, this is a pretty unique track for me.

This could be the most complex track I've ever written from a time signature perspective. The introduction and bridges all utilize additive time signatures, with a lot of interplay between the bass, high synth, and drums, all working on different times that sync up fractally. Outside of the complexities of the track, this is a poignant track and a welcome return to songwriting after a month of being absent. The chorus, in particular, is one of the catchiest choruses I've written.