Blood Wings Sinfonia
Symphony No. 4: Murder on the Night Plains Vol. 1
2013

4 tracks, TRT: 46:57, 320 MP3



https://mega.co.nz/#!pss2zbaT!H_-bc2-wRsDF7Igh16a5dHFtl-Z5xgyBv9PG_4gXzl8
*NEW LINK*


Note: For those who have been following these from the very beginning, rest assured I'm stepping my game way up this go around. By the end of editing Symphony No. 3: The Incident at Goose Creek Vol. 2 (Thread 134941), I was entering epic mode so my works began to take on a more epic tone as a result usually serving as excellent and thrilling underscore for my otherwise boring life. The action mixing I established in Symphonies No. 2 & 3 is most definitely here in this collection, however this story gets a lot more breaks than Goose Creek did, I promise. Just don't expect them to stick around too long before the next big orchestral explosion. Movement Nos . 3 & 4 take my now-standard action styles to a whole new level. I'm loving the progression and I sure hope you will, too. It's still not perfect so over time I will be making changes but for the most part, these are safe listenable versions. There are just some minor tweaks I need to make for them to feel complete to me but I'm happy with them in this form for now. I delved even deeper into my music collection for this and wow is all I can say. I never really realize what scores I have until I do these projects then it's like a godsend that they survived being deleted off of my hard drive.

A little backstory: This piece was devised while on vacation out in the 29 Palms desert near Landers, California and as I was driving back to Palmdale (where I was staying), I began listening to Terry Riley's Cadenza on the Night Plains and the idea for my next symphonic work hit me like a ton of bricks. I began thinking of suites almost immediately after finishing the Cadenza and luckily, I had some prototypes already began before I had left home so I expanded upon those ideas (in my head) while I had the free time. Unfortunately not all of the music ideas I thought of while there made it into these movements but I'm pleased with what did make it. It far surpassed any ideas I initially started with but that's usually how these projects go.

I hope you enjoy this! Volume 2 will be up around the Halloween season and it is my goal to make it the ultimate complement to your active festivities.

thanks codyap

Thanks, I appreciate all your work!!

New and improved edit posted. I made a lot of changes to Movements 1 & 4 and cleaned up Movements 2 & 3.

After many playthroughs, I realized my full enjoyment was hindered due to movement 1's opening. It was just not right and didn't go along with the rest of the symphony so I changed it to something with a more consistent flow that I thought felt and sounded more appropriate. Not to mention it's much scarier to me now.

Also, there were some imperfect edits that I noticed after subsequent listens that I smoothed over or removed completely. It all flows better now.

Enjoy for either your first time or your second time. Feel free to leave some comments. I'm always curious to know what you all brave souls think.

When asked about my thought processes during the mixing of these symphonies it has really allowed me to step outside of my little box and observe the mixes I do from a new angle. When I'm editing, I don't often think about what my inspiration is nor do I have a specific story in mind. Once I get a good flow going, the rest just comes naturally. It also allows me to delve even further into my massive music collection to the more obscure titles that I'm sure many may never have heard or even heard of before.

After admiring the final mixes of this work, it has allowed me to reflect on my inspirations which are more immense than I initially thought. My main influence was obviously my road trip to California. It catered to my creativity more than anything. The fact that I got to see a childhood friend and her new fiance (now husband and father) I haven't seen in years along with meeting director Victor Salva (whom has been enjoying my works during his writing process which I find to be a great honor whom returned the same kindness by showing me his newest but still unreleased film, Haunted. Unfortunately I can't say too much about it but after Rosewood Lane, Haunted was an amazing breath of fresh air. It really gets you excited for Jeepers Creepers 3 which is still happening but I also can't talk much about that.) sent my imagination into hyperdrive. I managed to turn that culture shock into what you are hearing, have heard or will hear. Breaking Bad is another influence. A very loose influence but an influence nonetheless. Since there are a lot of murder scenes shot (no pun intended) in the desert, it catered to the isolation aspect I was looking for in this work. The biggest influence I can detect is in movement 2.

My ultimate goal with these mixes is to show my appreciation to the multiple artists that have inspired me in my life, not just the composers. I will specifically state when certain pieces are tributes to the composers with whom's music I'm referencing. Any of my works featuring Shirley Walker's music is most obviously going to be a tribute and bound to be one of the best sections of the whole work. I admit that up front: any time I use Shirley Walker's music in my works, I subconsciously feel that nothing I do in the symphony past that point will be able to match the power of Walker's works but that's not to undermine the later movements at all. The rest is just meant for workout/driving music, meant to accentuate the randomness of life. Take it from me: if you get lucky enough to cue this album at the right time as you're driving, you can have quite a bit of fun especially when orchestral stings hit at the perfect times. Examples include if you're driving at night and going up a hill, you notice a car's lights approaching the top of the hill from the other side. As the car reaches the top and their lights blind you as they enter your sight, the musical sting that can accompany it is guaranteed for a good scare followed by a good laugh.

I take careful consideration as to what gets used. I don't just throw any random piece in though at times it seems like I do. Everything I use has to have some balance within the stereo soundfield or benefit the work as a whole in some way to be included in the final mix. There comes the hard part. It's not a rare occasion for me to listen to each new edit multiple times before I can figure out something that needs to be changed or adjusted.

Despite that, I'm already at more than a dozen playthroughs of the version of this symphony that is currently posted and for the most part, it's done. I'm very happy with the end result.

I'm currently working on prototype ideas for Vol. 2 and I believe that you all will be pleased with the results.

This is also my response to the loudness war between vinyl and CD. It's going to be overblown in digital format intentionally but mixed a little lower on the vinyl. Yes, I am currently looking at getting all of my works pressed to vinyl. No, I will not be selling because I'm not at all interested in dealing with the guilt of profiting off of other artists' works. I will be pressing one of each for personal use only. Should you be lucky enough to find your way into my physical life, perhaps you can have the experience of a lifetime. My works are a cornucopia of moods, mostly tense and scary ones. Unless you have a weak heart or even weaker sensibilities then you should be fine. Just don't get crazy.

As is evidenced from the very beginning, I have a noticeable classical influence. It started out intensely atonal and worked its way up. I'm still experimenting with sound design over melody but every now and again I will add a little melody, even if it's for a brief second, that hopefully makes the audience realize that I am human and not some psychotic android that likes a little tender moment in between all the madness. It grounds you for all of a few seconds/minutes before the harsh realities of life come crashing down like a wave into your subconscious. Naturally, the realities are rarely as pleasant as the fiction but sometimes fiction keeps you sane. As long as you don't ignore reality then it's okay to escape into your own little world for a while. This is what my works are intended for. They are meant to not only introduce you to something potentially new but also meant to be something that you will be able to line up with your own life. Symphony No. 1: Blood Wings was my spiritual awakening. Every time I heard it, stoned or sober, I felt changes taking immediate effect in me. I felt very outside myself but also deep inside myself. These works are basically my fantastical views on life told through many artists' voice manipulated into my own personal story. You can't deny the amount of care put into them.

They say classics never go out of style and that's why I'm here: to make sure they don't. My works will always feature the best of the best in a way no one ever thought could possibly be made into a functional product. There IS function in their dysfunctionality. I want the world to experience the beauty of a cacophonous orchestral experience. My works have often been cited as "cacophonous" as if it's something necessarily bad. Sometimes it's pure ear candy for me to hear a weird assortment of orchestral samples with no real melodic structure overlaying each other as they intensely build and eventually reach their climax. I get a good chill and a good laugh so it works for me.

A little insider info: these are actually temp scores for future film projects. While they won't be used in the final films, their influence is crucial to the development of my novel/film ideas. I have spoken with both Douglas Pipes and Kurt Oldman about possibly doing the score for the film adaptation of Dead Letter Mail. Douglas Pipes was a very large influence to Dead Letter Mail's temp score and I admire that he and Kurt Oldman score horror films in ways that other big name composers don't: plenty of strings, percussion and brass tied together in an old-school yet modern fashion. After the progression of composer Jon Brion from Hard Eight to Boogie Nights to Magnolia to Punch-Drunk Love to ParaNorman, he is another composer I'd love to work with as well.

Just wait until I cut my first original album. Try and imagine all the musical frustration built up in me over the years finally being unleashed to the world, not to forget the orchestra. It'll be a sonic assault to the senses and the orchestra will earn their paychecks and then some.

I also await the day my original compositions resonate back at me from a concert hall. Whether people like it or not, that's up to their own tastes. I consider myself pretty respectful to the tastes of others when I mix these works so I have no lack of confidence in that regard.

Anyway, that's my response.