Today, It’s time to meet Eamon Watt again! Eamon is a composer from the Shetland islands and is also known as The Virtual Conductor. His orchestral tunes is released using the latter name.
The song A simple little lullaby was released as a single in July 2019 but will also be part of an album filled with lullabies. Or, maybe even Sleepy Songs? 😉
Tell us something about your track A Simple little lullaby!
Usually with most of my piano and orchestral pieces, they’re usually quite lengthy and explore a wide range of dynamics going from loud to soft, however for this project, I simply wanted to create a selection of short piano pieces, something soothing, quiet and simple to listen to, sending the listener to a calming place, good enough to sleep in. The track was composed in Cubase 10 Pro, using Native Instruments’ “The Giant” piano sample library.
Thank you for sharing this with us Eamon!
Today I’m introducing you to Brittisk composer Daniel Michaelson from London and his very interesting tune Argument for Strings No.2. Dan has worked as a composer for TV and films for 20 years and has (as he describes it himself) a “slightly unusual singing voice”. Oh well, you can hear that too by pressing the Spotify link below.
The song is part of an EP called Argument for Strings, which consists of four songs (number 2, 5, 3 and 10 in that order) and was released in the beginning of July of 2019.
The recording is catching you attention right away, so… don’t wait. Just listen before you read the rest!
Tell us something about your track Argument for Strings No.2!
The track features a bell I found in Scotland. It was a strange bell that didn’t ring out, the sound stopped immediately after it was struck. I recorded it to take home and add to this track. I recorded the track in London with some of my favourite musicians working today. I’d seen them performing a lot of amazing pieces around town… John Luther Adams, Claire M Singer, Phillip Glass amongst others, and eventually persuaded them to play my music!
Thank you for the music Dan!
Today I’m introducing you to Canadian now Scottish composer and piano player Stephen K Dobson and his track Satori. Stephen has played the piano since a young age and also knows how to play guitar harmonica and “can keep a beat on drums.
I, personally (as I said to Stephen myself), would have settled for the track without the strings. But it’s still a very beautiful piano tune which I hope you all will enjoy!
The song was released on the EP Moments which came out in June 2019.
Tell us something about your track Satori!
The song was composed sitting at the piano and observing the wind taking effect on the trees outside. I had a feeling of tranquillity just observing, it felt that there was nothing out of place, hence the title. The composition was finished within the hour but was then later re-recorded with the string section added.
Thank you for this tune Stephen!
The second person ever I made a spotted post about was an American dude called Brad Couture (you can find previous posts here). I sometimes get a bit sad when people I have written about release music without sending it to me; were they not happy with the coverage I provided?
Thats why I got very happy when I saw Brads name on another submission! And what a song he sent me! I immediately fell in love with Vignette and hopefully you will too!
The track is taken from the EP Focal which was released in late June of 2019.
Focal is an EP that revolves around an analog photography theme – each of the songs (Lightleaks, Tiltshift, and Vignette) each have to do with a certain photographic technique or effect.
Tell us something about your track Vignette!
Vignette actually had started out as a very upbeat track with percussion and synths – somewhat the opposite of what it eventually turned into! I had been trying to massage the song and make it work in that context, but something wasn’t really clicking, like I had been trying to force it into a box where it didn’t belong. Eventually, I just tried to break it down to the bare minimal – piano and some ambiance, and finally the track started to make a bit more sense. Adding the accompaniment of strings at the end felt like the best finishing touch to complete the song too. It’s always a surprise when writing – sometimes the music just wants to take it’s own course, and you have to let it!
Thanks for sending me this Brad! Keep up the good work!
Today I’m introducing you to American composer Rob Simonsen. Rob grew up in Missouri with pianos all around the house. He comes from a musical family and started playing music from a pretty young age.
The name of this song instantly reminded me about James Bond (I’m a big fan!) and the mood of the song is also kind of James Bond. Or, well. I guess James Bond also gets sad every once in a while.
The song was released as a single in June , but will also be featured on an upcoming album scheduled for September 2019.
Tell us something about your song Spectre!
I think it started out as a piano improvisation and then I arranged for strings and brass and we also recorded an Ondes Martenot and choir. And everyone was playing in unison and then Stan Neff (producer, engineer, mixer) and I started working on blends and we ended up only using the piano for a small amount and it became this sort of more string based, ethereal, otherworldly track.
Thank you for sending me this very cinematic song Rob!
Today I’m introducing you (again!) to the Spanish duo Biba Dupont, consisting of Helga Blanco and Xalo Gayoso. One of the more productive duos out here I would say. Here we have a wonderful little piano piece called Venice is falling asleep. And I’ll let them introduce you to the song!
Please tell us something about your track Venice is falling asleep!
Venice is falling asleep is part of an EP, 10pm train to Venice. The EP is based on a night travel we did when we met, from Venice to Zagreb, on an old post sovietic wagon. We slept in that train and the three tracks represents three moments of that travel: the sunset on Venice, full of light, falling slowly into the night, the dreams and concentration sleeping in that train (they asked for the passports with a gun in their hands!) and, finally, arriving to Zagreb, a city full of colours. The train arrived just front of a big traditional market, early in the morning, so we had an extraordinary breakfast.
It was a very difficult and exigent track. We had different parts well glued but a bad beginning. We had to tried with different startings until we discover the current start, wich we think express the feeling of a strong light, the kind of light you only find near by the sea…As every composer knows, sometimes music writes for itself and sometimes you have to rewrite over and over.
We normally write all the track (pen and paper) before recording anything at our studio. Until we have a strong pianist version we don’t try to record it. We need to think it could be playable everyplace everymoment. Then, when we have the piano version we start to record and produce, focusing on timbre, adding deepness and richness. The recording of this track was amazingly fast, we had it in one or two hours! After weeks writing it!
Thank you Biba, and keep up the very good work!
Today I’m introducing you to ABBOTT, a dutch composer based in Hamburg, Germany. ABBOTT loves classical music and is also a huge film nerd (cineast might be a better word?).
When my friends were listening to Pharell Williams and Bruno Mars I was listening to the soundtrack of the Shawshank Redemption and Forrest Gump.
He works as a composer for the entertainment industry but occasionally finds time to write music for himself.
Tell us something about your track Never been away!
I would compose on my old, out-of-tune piano I got from my parents. They brought it all the way over from the Netherlands to my studio in Germany. When I finish a general idea of a song I’ll go and arrange the strings. That’s really my favorite part of the process. I really like the piano but my heart belongs to the strings. After two years of working on it, I finally finished all of the songs and I’m going to release my debut album end of this year. The album is going to be Neo-Classical but more theatrical and cinematic. Influences range from Max Richter to Jóhann Jóhannsson. The sound in general is organic and dark, melancholic and intimate, and are marked by my love towards film music.
‘Never Been Away’ is the first single of this album. It’s inspired by an old Irish love story. It doesn’t have a happy end but it is also not a sad story. I’m not going to get in too much detail because I really like if my listeners make up there own stories in their heads.
Thank you for sharing this with us!
Today I’m introducing you to the latest single by Justin Hunter, which I have spotted befor here. Justin is an Australian composer from the Blue Mountains. He’s currently traveling through Sweden (but we haven’t managed to meet yet).
The track Anywhere Elsewhere is released as a single, but will also be featured on an upcoming album later this year.
The working theme throughout the album was to keep my sound raw, perfectly unperfected. I wanted an album full and rich in vibe and feels. No room for production or in making my sound less organic. It is a full recording of just me and the piano.
Tell us something about your track Everywhere Elsewhere!
I recorded the album in Riverwood / NSW. It was more a feeling I was trying to capture. “Anywhere Elsewhere was something that I wanted to have the feeling of a summer vacation. A getaway mood, similar to when you start dreaming of traveling.
Thank you for this Justin!
Some people release music mor often then others. William Ogmundson is one of those who constantly release new music, and who am I to decline a spotted post just because you’re “too creative”? William is an American composer from New Hampshire, and you can read more about him here!
Into the Distance is featured on his latest album La Vie En Coluleurs (I think it might be French, and without knowing French at all I would translate it to The colors of life). The album was released in June 2019.
Tell us something about your track Into the Distance!
Into the distance was recorded at Greg Maroney’s studio in Pennsylvania. I was in the process of recording my album La Vie en Couleurs when I noticed a wooden box sitting in the corner. Greg explained it was a shruti box and how it was a drone that worked off of below like a harmonium, so of course I had to try it out! (Greg had a really cool former life where he made a living playing middle eastern music for a belly dancing troupe, but that’s another story).
So, Greg played the shruti box drone, and I improvised a piano part over it, which became Into the Distance. I tried my hand at the shruti as well and Greg played piano, which became his new single Heart of Darkness. The pieces were like yin and yang-mine was light and cheery-his very dark and brooding, which I found fascinating, since we were both just improvising over the same two-note drone (G and D). I thought it was cool to subtly combine eastern and western cultures on a song, and I’ve never attempted a song before that doesn’t have a chord progression, chorus, bridge, or any of the formal elements of composition. It seems to have a centeredness, a feeling of calm, that is unlike anything else I’ve come up with.
Thank you again for sharing your music with us William!
I’m always a bit frighted when the first thing I hear in a submission is a guitar. But I always listen through the entire song, even if I later decide to decline it. This time, however, I’m more than happy to introduce you to Spanish composer Daniel Herrera Torres a.k.a. Daniel Blacksmith and his song Química.
As the song evolves a lot of different instruments take a chance to introduce themself. Guitar and strings first, but then comes the piano and the circle is complete.
Química is released on the EP Química y Contexto: Destino which is Daniels debut.
Tell us something about your song Química!
I recorded and mixed the full album at my own studio. I recorded and delete the classical guitar of this song four times becuase I could not found the right sound. I had to changed the guitar, the microphone and my nails shape to found it. You can see that to be audio engineer, producer and musician at the same time is not a good idea.
The full album is composed following the same process: First I think and write about the main concept. Then I use the structure of the text to create the song’s structure, melodies and other musical staff. In other words, I try to translate my reflections about a concept to music.
Thank you for this Daniel!