For Sudan (Suite)

Thoughtful sad piano with raindrop-like percussion states a strong melodic motif, slowly joined by gentle strings and delicate triangle. At 1:56 a hopeful bridge introduces pulsing cellos building to a full-bodied, quickened restatement of the main theme, then a gradual shift downwards in energy and tempo for a relaxed and pensive end. Good for campaign videos with a strong serious message.

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Threshold_Entrancending_Incantascence

Sparse plucked Cello, calm and slightly wry, anticipating something, a note of unease. Then out of nowhere urgent and plaintive bowed cello and violin. Rhythmic at first then suspending itself with long drawn out notes. At 4:14 there is a unified statement, uneasy and dissonant. It feels like someone is valiantly struggling to pull themselves up but can’t do it. They try harder and more desperately but the forlornness of the situation overtakes them, they pause, then after a last effort they fall to their doom. If you were ever narrating an Edgar Allen Poe story, this would be the soundtrack to it.

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Harmonic Progression

Bouncy and playful, with a compelling dialogue between strings and brass instruments that create a feeling of discovery for somewhat young adventurers. Dangerous edge but overall positive and playful, Goonies-alike with an added feeling of grandioseness given by a strong orchestral arrangement.

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Quantum Trip

A dreamy and ethereal start, with a filtered piano and marching percussion that create a somewhat emotional and grand feeling. In a continuous and constant progression, it gains decisive strength after minute 3, where the scene is complemented by other orchestral elements, such as a soothing cello and high pithed orchestral strings. With its full power ending, it will suit cinematic sequences that have a need to gradually transform introversion and emotional content in something grandiose and epic.

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High Roller Jack

Repetitive and hammering, with a smoky electric guitar riff built as a direct reminder of seventies almighty rock icons such as Jimi and Frank. From 1:30 onwards it gains some nineties elements, culminating in a hi gain solo a la Slash and Guns and Roses. It will suit strong rhythmical visual sequences, sexy clubs, and controversial advertisement.

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Kill the robots

Repetitive and flowing, it starts tense with a rhythmical bass synth. Soon a detuned piano enters the scene to counter balance the darkness with some emotional lighter ideas. The bass follows it as a drum section slowly creeps in and helps in gaining strength to the tune. There is sense of longing and broken romance, but defiance and challenge are definitely ahead. Somewhat in between hi-tech and retro.

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Damage

Dreamy and emotional but polluted in its arrangement, with digitally distorted synthesisers that swoop around the sonic sky and create an interesting black and white post apocalyptic romance theme. Futuristic and hypnotic, there is also a nice and straight kick drum bouncing on the lower spectrum of frequencies that help in establishing a catchy danceable rhythm.

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Captured

Dark and sneaky, a synthesised bass drone decorated with prepared piano inserts and strings articulations that bring in a cheap horror feeling with an industrial element. This will nicely go along with those kind of thrillers and horrors where everyone in the audience thinks: “Really?”. For scary exploitation and b-movies with an ironic edge.

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Digitalle

Dynamic with a celebratory edge, featuring a compelling and solid arpeggiated synth and a four-on-the-floor dance rhythm that create a soft and magical episode of electronic music. Vintage remainders of old synth, pads, and quirky sound effects. Like a night-time time lapse of a future city filtered by a child’s mind.

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In the Dead of the Night

Pensive and somber, with an overarching negative mood given by bassy orchestral drones and subtle electronics. The middle section features a poignant counterpoint between a cello and an oboe. A sparse and saturnine sense of the inevitable leaning to Hollywood style romance stories.

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