So some of u have been complaining that my recent mix is bit wee quiet. So I roll out this album with original mix with limiter on. Also all the tracks are renamed as according to their intended titles just for this album.

Enjoy ;)

@EvilRaccoon or also known as Peter Satera won the 8Dio contest. In cinematic music world he's known as the person who write ultra epic stuff, but Peter had a start on NG. His sibling, @Enzer0 or Enzo Satera is also on NG (go follow both of them!). They are awesome duo that gave rise to many NG cinematic composers. Peter and Enzo were the first wave of NG orchestra musicians, along with Danman87, MaestroRage, Jazza, sorohanro, MilkMan-Dan, Reasoner, etc...

2 years ago, another NG composer made it to 8Dio Standout Contest's final, @Phonometrologist, he's his own league.

NG gave rise to small but strong number of cinematic composers. @Danman87 (Denny) and @MaestroRage are the most well known. Denny is now a demo writer for EWQL. MaestroRage, @sorohanro and other founded their own film/game scoring company Symphony Of Specters. @zirconmusic founded Impact Soundworks, that's known for stuff like Shreddage. Other composers who made a start on NG are: @SoundChris, now a demo writer for Strezov Sampling and Soundiron. @Edgen, who is a composer for X-Ray Dog. @chrishaigh, left NG and founded Gothic Storm.

Though, there is one big score composer on NG that few people known, except our little circle of cinematic blokes who interacted with her, she is @winifredphillips, or known for composer of God Of War, Little Big Planet and Assassin's Creed III: Liberation.

The new rising stars who you should definitely check out are @RealFaction (AIM/NGADM organizer), @LucidShadowDreamer (3rd place NGADM), @Everratic (1st Place NGMT), @EtherealWinds (1st place NGADM), @Troisnyx (1st place NGADM and Epic Battle Fantasy composer), ForgottenDawn (almost won Make Arma Not War), @Mattashi (1st place AIM), @bassfiddlejones (recurring 1st place NGADM), @bassethound, @AceMantra, @CloakedSoup (3rd place AIM)

I was also in the first wave, however it took me little longer to come this far. I'm not the same tier as these composers, though my more well-known work was Make Arma Not War 1st place project Resist.

Five brand new tracks included in this album are:

• Ecocide
• Glass House
• Agitate Educate Organize
• Symphony Of Silence Society
• After The Final Revolution

Kurohata, is one unreleased track.

All funds of this album goes directly to IWOC, or Incarcerated Workers Organizing Committee of the IWW.

This album is released with Public Domain Mark 1.0

I make a committment to release at least one album per year from now on. Last album, Ground Zero, was 2 years ago, and all the funds go to YukinaOfficial. This year album's fund will go to IWOC, IWW's Incarcerated Workers Organizing Committee, who organized the transnational massive prison strike last year in US and Canada. Being a Wobbly, I feel like I must step up my praxis.

Regardless of your politics, remember that you don't have to pay for the album, this one will be pay any amount you want. You pay to support my work, it's only your money will eventually indirectly go to something else. I do not take a single cent from it.

The album will consist of 20 tracks. 5 tracks will be from unreleased, and the rest is remastered.

Next album sometime in March will be for FireFund with 10 long tracks, currently in WIP.

Toronto Reference Library just upgraded their Wifi to Gigabit fiber, I'll go there after work to upload these and my promised pack of complete music, @eatmeatleet :)

Happy New Year.

Why would I celebrate a holiday with a tree that was stolen from pagan Germanic tribe with a fake story that was stolen from Jewish culture which now deep throating upon us like it's part of our culture? Why would I celebrate something that rape our lands and our people for the last 500 years?

To celebrate is to be ignorant to ourselves.

So I've been running along with 'the style' that y'all love for nearly a year, and I gotta admit, it gets a bit boring. Sadly I got too comfortable with the direction of the production. I'm going to try to steer myself away from it, and try something new. That was what I've been doing with tracks like Rave At The End, Boss Fight and We Die Twice. I want it to have the old chaotic arrangement, yet with much more colorful and melodic style. Wild World was so-so attempt, however I kept hopping back to the old path.

I've been working on a small "anthology" of change, each track signifying the breakthrough of my production and composition wise:

Wild World - melodic

Gilets Jaunes - mixing & mastering

Final Circle Of Humanity - sound design

Morphenomena - atmostpheric

Glass House - brightness

If you haven't checked out the first 3 tracks, please do so :)

Note: Kontakt instrument is included, picking non-Kontakt orchestra stuff is pretty slim. You can still use the 15 min demo or the "alternative way", if you know what I meant.

ONE - VSCO 2: CE

Samulis, Nimble and @Troisnyx 's creation. Probably the best free orchestra library in the wild. The only public domain and FLOSS library :(

Bonus: Etherealwinds Harp by @Etherealwinds

TWO - Mihai Sorohan Choir

Made by Sorohanro and MaestroRage

THREE - Palette Primary Colors

Pretty awesome Kontakt instrument for orchestra patches.

FIVE - Sonuscore FREE HD ORCHESTRA CHORDS & SUSTAINED STRING CHORDS

SIX - 8Dio Freebies

Err, non commercial, but nobody stopping you ;). Check out the Century Brass and Century String

SEVEN - Ensemblia

Little tool to mess around.

EIGHT - Embertone Ancient Voices, Imitate Strings LITE and Ivory Winds

NINE - Orchestral Rise Builder

TEN - @blackattackbitch SF2 collection

It wouldn't be a complete guide without mentioning BAB collection that helped countless people. His collection is the earliest orchestra stuff that many people, including me, relied on.

Have fun, y'all.

Disclaimer: Kontakt instruments included because you can still use it in demo mode for 15 min under Kontakt Player.

ONE - ANARCHY DRUMS by It Might Get Loud

This is by far the most well sampled drum kit I have ever used. Of course, you don't have to use it for skate and crush punk, but it's pretty versatile for all your rock, metal and hybrid production. It's amazing how many mic positions this little gem has.

TWO - THUNDER X3M Taiko Freebie by Strezov Sampling

Pretty great taiko samples for a free Kontakt instrument

THREE - CINEMATIC SYNTHETIC DRUMS by Impact Soundworks

Hybrid perc for free? Yikes!

FOUR - BEATFACTORY DRUMS

Best for trap and hip-hop

FIVE - DRUM PRO by StudioLinked

This shit is amazing. Shame that I only discovered it recently.

SIX - MT POWER DRUM KIT 2

Was my fav free kit. Still a good one.

SEVEN - SYNC 3 LE by Audiomodern

Construction kits for cinematic beats

Enjoy!

This is how you should rap.

This is somewhat my way to push tutorial, however I don't want to dictate how people should make music, and more of an explanation of how and why I make music certain ways.

A - I don't build stories, I build worlds

As must as we reject or water it down, as of today the recorded audio is still a linear experience. Stories are linear and predictable. So I would like my music to be non-linear by designing each song a unique experience, yet familiar. I employed various innovative techniques developed specifically for my production from structure, arrangement, sound design, to mixing and mastering. I will go in-depth in the stuff below.

I admit not many one-time listeners like my unorthodox production, however those who are long time followers of mine often enjoy analyzing the production, which is something that I always cherish and respect my fans for that.

Another thing is why I build worlds, I don't dictate my listener of how they are going to percept and interpret my tracks. My stuff might have my own personal messages, but they are often symbolic. I have read 10 reviews of the same track with slightly different interpretations of my song, and that's the freedom everyone should respect their listeners.

Late Stage Happytalism

B - Sonic Illusions and Psychological Effects

If you have been an avid fan of my music, you might have noticed that I often employ shepard tones into my production, specifically percussion programming. It's just one of my many signature exploration of sonic illusions on the path to create more and more interesting sounds.

Another example, I often use pseudo-linear and repetitive patterns to fool listener into believing the arrangement was always the same, however I slowly sneak in minor instruments that are barely noticeable, yet your ears automatically registered that it's there so you hook onto the pace. I also introduce very twist and unannounced transitions as if they are completely separated parts. Thus makes the sounds work ironically yet seemingly, only because your brain was told that it should be like this.

Affinity

C - Diversity, not harmony

Often cinematic composers include different instruments to create balance and harmony. I do the opposite. I create diversity and aim to tip the balance. There are parts in some of my production with over 50 instruments going on in a single bar. Yet they all work seemingly well. Over years, I have learned that diversity always trumps law-abided theory-following production.

It's not chaos. Chaos is random. Diversity is full and welcoming.

Origin

D - Non-conformity

I never went to any school or training for music composition. I'd probably fail first grade music theory than a 5 years old kid taking conservatory music class. But precisely that weakness makes it my greatest strength. It enables me to explore, experiment and expand my sounds as much as possible. I don't know the names of any chord, progression, tone or scale, but I know how and why they work. I know how to utilize them, bending and twisting them the way I wanted. I often employ unique yet familar motifs in all my melodical works.

Mutual Aid

E - Symbolism & Educational

I did mentioned that I don't dictate what people interpret my music, that is true, however for personal preference I often include certain topics about what and why I made the track. Those topics are meant to be educational and thought provoking. Sadly NG comment system is limited and listeners don't have further chance to discuss the topics right at the track.

I value symbols of the instruments, arragements, sound designs and aspects that utilized in my works. Every sound in my work always stands for something I want to speak about. The ways they interact with each other often the indication of the symbols I would like to discuss about. In a way, every work of mine are a mini chemist laboratory with a dip of political science. Thus, why I build worlds and not stories.

Down The Memory Lane Where The Sun Never Set