Activity from dacre
Displaying post 1 to 41 of 41 from music
Experimenting with a Cold War "numbers station drop" in an EDM song.
A cutesy synthpop commentary on basic human nature, fears, religion, why we think what we think and do what we do, and our place in the universe.
Surf-electro? Cover of the Jan and Dean song.
C/2012 S1 (ISON) is a comet headed into the inner solar system for the first time. Coming from trillions of miles away to make a parabolic orbit around the Sun, accelerating to ~500,000mph, it could be the most spectacular in modern history. This song tributes it. It starts off with its dark, lonely, dusty origins, to the chaos of the Sun pulling it in and it raging into the inner solar system (represented by some chaotic American dubstep-styling), to the majestic beauty of the sight of it on Earth (with soaring strings and piano underpinned by the bassline from before but now moving in chords).
So I have another instrumental piece of pop to share with everyone. This one has lyrics but I don't like the way my vocals sound with it. It basically expresses remorse for a Wet Reckless (reduced DUI) in a roundabout way all while using a 1-5-6-4 progression that avoids total cliché by way of a treble synth playing altered tones and keeping it fresh.
7/8 is usually thought of as an aggressive time signature — for the likes of harder jazz, metalcore, and Stravinsky. But here I'm using it in a ballad. The melody playfully bounces and trips over itself in 7/8, blushing and giggling around its crush while trying to be smooth with racing thoughts and too much to say. Still trying to find the right words and vocalist.
I accidentally played a 022000 E minor chord as 033000. I liked the sound, and soon had a horror song for Halloween. :) It's a simple, rolling/grinding, number. Hope you enjoy!
Enjoy Millimeters of Mercury breaking out some real guitar and being more rock than electronic, and unautotuned except for a vocoded/autotuned effect in the bridge.
An as-of-yet instrumental, franctically-paced (187), electronic post-hardcore-influenced song. Without doubt the most balls-to-the-wall, overblown, overpowered, overdriven, bombastic production I've created. But it's still in that poppishly glossy, tightly-produced package anyone who has heard me knows. Any suggestions welcome as to how vocals should flow in it, and collaboration also welcome.
This a remix of an earlier drumline-based song by me using an a capella rap recorded by 3 MCs and allowed for use — the fusion makes a nice catchy result.
Doesn't everyone love to cover this song?
Marching percussion + dueling synthesizers.
Song en español for the March challenge. I-V-vi-IV all the way. Lyrics and English translation in more info.
Second part of my set inspired by Gustav Holst (the first was Venus), an electronic Planets suite inspired by astronomy rather than mythology. Here's Mercury. A spastic and rapid synth represents the planet's rapid orbit. A out-of-control mood represents the seeming descent into the Sun on approach. Erratic drum fills and interruptions represent the bizarre climate of the planet, being one of the hottest and coldest in the Solar System, and due to its rapid orbit sometimes having the Sun rise twice without setting.
Epic dance. Start in a dark place and then hit them with the I-V-vi-IV. Enjoy.
mmHg says chill.
I made this a few years ago, a remix of Hark, the Angels Sing. It's completely cheeseball — but some of my friends actually LIKE it, so I guess maybe it's good?
Standard epic/apocalyptic hip-hop end-of-the-world Millimeters of Mercury take on a standard Christmas melody.
Heavily Arabic/Indian influenced hip-hop fusion instrumental. Yeah, that's right. More dominant phrygian.
Two science majors taking a keyboard (piano) class. The two decide to create a piece that attempts to combine randomness and coherence. Rules: 1. There is a set motif for each segment. The motif is prewritten. It's decided who must play it at each time. The other may play it, but may also rest or make something up. Made up melodies must use whole tones, half tones, or tritones but not more than 1 of the 3 in one segment. The conclusion and intro are prewritten for both players. 2. You may play the assigned motif in any key you desire. The other player is not told which keys. 3. Tempo, time signature (usually 5/8 or 7/8), structure, and dynamics are pre-determined.
A theme for that girl who's hot and she knows it.
this song was birthed of an experiment to compose a Folk-style song and then doing it electro-style instrumentally and vocally. so the result is a folk-ish drum beat and accompaniment (and chord progression in the chorus) with electronic actual drums, synth bass, electric piano and electro vocals. enjoy, and never love again.
Slightly dubstep-inspired, named for the closest star to the supermassive black hole at the center of the galaxy (S2). The star is a young star and the fastest-moving massive object in the galaxy, and by metaphor, the song expresses the hubris and beauty of youth.
A little bit of cute electronic hope for everyone today.
This is the first part of my attempt to do something akin to the work by Gustav Holst. The difference with me is that it's electronic music, and that I'm being more astronomical than mythological. We start with Venus.
This is a hard dance cover of the theme that plays in the score of Pirates of the Caribbean 2 when the Kraken is nom-noming on the ship. It was fun. Enjoy. :]
So, similarly to how Paul Simon used a lot of traditional African melodies/chords/etc., in his Graceland album, I decided to employ a traditional Nigerian folk melody/chord progression for a chorus of a (I think) unique electro pounder.
Basically, this song is a very "epic" work dealing with an extraordinarily dysfunctional relationship in my past. He actually hit me a few times, but it's easy to blame yourself for things, as you hear in the beginning — especially when you do/did love someone — but nevertheless I detail in the song how I came to realize he was to blame, not me.
Soooo, after the positive response to my Listen to Your Heart cover, I thought I'd post up the sequel I recently created. Complete with ludicrously exuberant synthesizer solo. Enjoy. This one, too, is a bass-pounding synth-pumping extravaganza. :)
Millimeters of Mercury is back after the end of finals at USC to present this decidedly retro electropop song that bounces and pounds in B flat major, occasionally straying into harmonic minor and dabbling in diminished chords and flat sevenths. Enjoy. =]
When Roxette recorded this song in 1988, they commented that they were trying to create that "overblown American FM-rock sound." In 2010, I bring it back to America with the overblown American hip-hop/club sound, complete with ferocious auto-tune lines and an all-stops-pulled, everything-and-the-kitchen-sink-and-808-kick-and-crash beat. I hope you like it!
Millimeters of Mercury (me!) returns with this acoustic-piano-pop-electronic (haha) "fusion" of live piano (played by himself), some live drumming (by a friend), some drum-machine/looped drumming, and vocals performed while playing the piano but were later chopped and processed to make things more coherent. :) The result is saccharine beyond all get out. Think of it as a morally bankrupt part-time drug addict's profession of love to someone who accepts them for who they are. I hope you enjoy.
This song is a portrayal of identity crisis — yet not just in the expected expression through lyrics. A snarling electro beat attempts to warp itself around jazz-inspired harmonies and progressions as the speaker explains his own crisis.
one more [hilarious, if we do say so ourselves] post before we take a break from posting obsessively. (did i mention we're both gay chemistry majors?)
Amen Break + Synthesizer-Playing Chemistry Major + Guitar-Playing Chemistry Major = We blow roofs off shows like supercritical reactions blew the top off Chernobyl.
What happens when 2 USC chemistry majors collaborate on a song — one of them being an electro artist (me) and the other being pop-punk (him)? This happens. Enjoy.
Based on a chopped and sliced sample of a heart beating, in this track Millimeters of Mercury (my "stage name") pulls his shields of extreme Auto-Tune down slightly to let you get a little more close and personal.
This is a cover of that Creed song from 2002 in a style somewhat evocative of Owl City or The Postal Service.
an original song. :) ever had a bad break-up? i have. [warning, there's some explicit language toward the end. okay, there's a lot of explicit language at the end. ;)]
an infectious, pounding cover of the Paul Simon classic.