The Place of a Skull

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This piece has a lot of personality.
It starts out atonal, ambient, and then moves its way through classical and cinematic. What is first heard is an improvisation around a twelve-tone scale, and in even the latter section the twelve-tone scale is heard in motifs as the music starts to pull reluctantly toward a more tonal center. The twelve-tone scale in the beginning is birthed into tonality by the end. And yes this can all be interpreted metaphorically with the artwork. I’ll leave that up to you.
Inspired by the artwork of the one and only, Heartgrinder:

Thanks to floppypawss for the inspiring bass parts in which he performed on here as well.


This was quite the experience.
There are so many emotions flowing through this piece that I know not what to make of them. At first it seems like nothing but chaos, but once you dive into the piece, there is a lot to take from it.

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Phonometrologist responds:

You share the same sentiments about it sounding chaotic at times with others that have left their comments about it as well.
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." -Albert Einstein

Nice track! I enjoyed the atmosphere of this song. Keep up the good work!

Phonometrologist responds:

While I cannot promise to keep up good work, I will continue working. I enjoyed your comment and rating.
Thank you!

Ahh this is great! I'm glad you added the description. When I listened last night I thought "Ooo is that some 12 tone?"

I really like that the sections of this piece are so different and yet still feel cohesive. What really brought the music and the art and everything together for me was the description of the art, especially the "desparate hunger" part. I think that sums up exactly the feeling I get from your music.

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Phonometrologist responds:

You seem to really know your stuff. I can't say that I know many who enjoy the technique created by Schoenberg, but I'm finding more and more. I for one do, and have gotten great inspiration from that approach. For example here, the tonality of the latter half wouldn't even have existed without first utilizing the Twelve Tone Row Matrix that is heard in the beginning. It can be a great tool and a different approach for coming up with a chord progression--even though that is going against its purpose. To me it's like going back to the works of Bach where each single note is getting as much attention to it as the next where they are carefully woven together.
Cohesiveness was really the challenge and if it wasn't for that technique, it most likely would be lacking.
I've "sat" with the artwork by Heartgrinder for quite a while and I started to see the commonality that I could project into the music as well. I call it the heart of humanity, and the music by all of its different attributes is how I attempted to portray it.
Well, as you can see, I enjoyed your review. Thank you for allowing me to "hear" your perspective.

I like that you know what you are doing. Things are not abstract (as it seems) but connected. The only minor thing I would go for is to fade the atonality at 4.15 till not heard. But this is not even a suggestion but a matter of choice. Very well done.

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Phonometrologist responds:

I like to think I know what I'm doing, but really I cannot say that I know how these things will turn out. I sometimes doubt what comes out is really me as I have no idea at moments. Your personal preference was definitely an option, but I don't want people to think the contrast between parts had no connection at all and by thinking that they were two separate pieces.
Thank you for the time as I know it is perhaps even more precious to you in how you spend it.

Interesting piece. I hadn't listed it as one omy favourites of the competition because I didn't really know what to do withthe style. Now I listen to it more carefully I think I really missed something before. It's a long piece with realy different parts. Even though it's experimental and rather abstract it still touches you, and that's what I think music needs. It tells a certain story of changing emotions. It's like Real Faction said. It sounds like it's about dying. Scary and painfull at first. But then you move on towards a whole new world. It sounds very cinematic. I like how all of the sounds are interwoven and balance each other out. Despite the sounds are strange and a little dissonant, it's still polished and good on the ears. My only complaint perhaps is the violins that start at 4:29. They sound a little direct and dry for my taste. It gets better later on, when more instruments join in. Then they sound very good. Perhaps they should start out more distant at first, and slowly grow stronger and closer while other instruments join in.

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Phonometrologist responds:

I appreciate you enduring this and your approach to listening by giving your perspective. I love to hear even from those that haven't been accustomed to this style and even for those that would like to tell me how they don't like it.
Every word you used to describe this is well taken and insightful to me. I invite all to offer there own meaning to it by taking ownership of what they listen to. I would even use some of your words to describe this, but there is a hidden meaning to it as well which you touched on.
To get more technical, I agree about your complaint. I was in a super rush to reach the deadline though, and I didn't have enough RAM to keep all the instruments going as it was let alone add yet another plugin for the strings. I would have liked to add more to the strings, but this will have to do. I will just have to learn from it and take what you said into account for the next projects.
Thank you for the thorough review.

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Credits & Info

Bass Guitar

4.85 / 5.00

Apr 15, 2014
12:03 AM EDT
File Info
18.7 MB
8 min 11 sec

Licensing Terms

Please contact me if you would like to use this in a project. We can discuss the details.