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1. 【Renya】Unravel (Tokyo Ghoul OP - Acoustic Guitar & Violin) Original English Lyrics

【Renya】Unravel (Tokyo Ghoul OP - Acoustic Guitar & Violin) Original English Lyrics

I started watching Tokyo Ghoul, and I absolutely fell in love with this song! I'm gonna redo it later, but I thought this version was pretty good too. I really hope you like it. "Unravel" by Tokyo Ghoul and initially performed by TK from Ling Toshite Sigure Acoustic cover by Justin Ly: https://www.youtube.com/channel/UCH_22DnGxDLIu5fnQR6MeHw Violin cover by Violin Noobie: https://www.youtube.com/channel/UCMGf-4TZDqNG97yqY5WPTCA English lyrics by me~ --Lyrics-- Please do tell me Please do tell me How to survive in this world With this person inside That wants my heart and mind My conscience cracking Will retracting I can't continue on As the way I am I have to change to live Being so damaged I can't have their bliss Making it hard to breath Freeze Unbreakable, yet I'm breaking Unshakable, yet I'm shaking When I saw them... I started shouting This world is twisted, on every single dark day I feel that I'll die and will soon fade away So since I'll be gone, just stop looking for me Please don't look at me... Knowing full well you could get hurt by my hand In their worlds sick imagining and harsh demands I can't be near you So just remember me...

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2. Fanatic MIDI Class 02

Fanatic MIDI Class 02

My entry for Fanatic's second MIDI Class. I was rather inspired by the solo violin sound, and I believe the result was my best entry for that round of exercises. This is a plain MIDI + SoundFont song (no audio editing, effects or mastering), recorded directly from an AWE-32 sound card. The MIDI Classes - http://www.doomworld.com/fanatic/ - were exercises where we were given a minimal SoundFont for each Class, and then had the weekend to come up with something, using a plain MIDI sequencer.

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3. Quartet I: A fanatic heart

Quartet I: A fanatic heart

Blue Engine String Quartet (Jennifer Jones and Anne Simons, violins; Kerry Kavalo, viola; Benjamin Marmen, guest cello). I. A fanatic heart The swiftly increasing ferocity of this movement emerges through obsessive motives in polyrhythmic superposition, nested in a starkly etched texture. A meditative passage of successive rising minor seconds frames the movement, and is also heard at its core. It echoes the bleak desolation which fanaticism, whether collective or personal, brings in its wake.
 II. Lament The Lament can be understood as a grieving response to the first movement. There are no changes of time signature or tempo anywhere in the movement, which is an extremely unusual procedure in my music! A plaintive arioso for solo violin gives way to a shadowy descent. Descending figures play a prominent role in the texture which accompanies the principal melody. An ascent from the depths, as if reversing the initial descent, leads to an ethereal coda, punctuated by descending gestures from the second violin, as if its cries of distress were echoing into space. III. Gubbinal The third movement is a kind of scherzo, a dialogue between two contrasting views of life. The upper strings insistently make their case for a cheerful, buoyant outlook through teasing, wheedling, pleading. The viola and cello remain firmly in opposition, at first simply responding with a stubborn NO, then articulating their grouchy disgruntled state with grumbling and whining. The title derives from Wallace Stevens' satiric poem Gubbinal, with its refrain 'The world is ugly/And the people are sad.' It has been suggested that the source of 'Gubbinal' is the slangword 'gubbins' - indicating that this is a gubbinslike proposition. IV. With growing passion The Finale emerges from desolation to affirm an increasingly passionate approach to life. It is in ABA form: the upwardly-striving, fervent melody of the opening gives way to the rhythmically insistent, jolting, thrusting energy of the central section. The irregularly pulsing rhythms provoke a new blossoming of lyricism; this prepares the return of the initial melody, intensified, transfigured, building to a swift climax, culminating in a shimmering F-sharp minor triad, whose topmost note emerges like an undying flame, burning in the air.

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4. Glorious by Stephanie Mabey(Original)/David Archuleta - Cover

Glorious by Stephanie Mabey(Original)/David Archuleta - Cover

Vocal-piano-violin-string cover made for (another) video competition. Call me crazy, delusional, etc but yes, I'm that fanatic. Special thanks to Ody for coaching me, Nanut for taking the video, and Domon for correcting my letter. Lastly, wish me luck! :D

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5. X Hyphen

  • Published: 2014-12-12T17:25:58Z
  • By Lou Key X
X Hyphen

X Hyphen Lyrics & Vocals by Lou Key X Music by Kick et Snare Vocals Recorded by Lucky Lex inside an Igloo somewhere in the Remote Inhabited North of Canada Mixed & Mastered at AlxMuzic Studio by Alex Yvon Blain Executive Producer : Lucky Lex https://soundcloud.com/kicketsnare https://soundcloud.com/alxmuzic https://soundcloud.com/luckylex X Hyphen Door Bell, Rain Dear, Gift Wrap, Plastic Xmas Remix Favourite Classic Holiday madness Stuck in traffic Family Fanatic, dramatic and Manic Seasonal Static the Sales are Massive Don't Panic, plan your Shopping Tactics Have cash in Elastics be part of the masses Stop demographics, backflip that shit was sarcastic Sharing, Caring, Christ a Mass Cheering Fearing Parents, Drinking Beer and Joking, Smoking, laughing, Eating Turkey and Gravy, caffeine in the Evening Celia's Catering, Bella plays Violin Granny in the Kitchen, the mood that I am in Chin, Chin ,take a sip of Gin... Singing with Billie Holliday on the Radio (chorus) X Hyphen M.A.S, X-Mas What kinda crap is on your Wishlist Mistletoe Kisses, Now Explicit Twisted, Need more gifts, Uplifting In My Radius,  Loved Ones Gathering Dresses are Flattering, part of our Happening Sophie is Chattering, camera Capturing Sasha is Dancing in the back with Catherine Gigi cut her finger with a carrot on a Mandolin Blood is Spattering, what is Happening ? Kids are Balancing, Dreams Almost Shattering Lets take time for the Gift Unravelling Snow Balls, Tree Lights, so Exciting Bearded Santa, Babies are Frightened I'm not Baptized, I use the X Hyphen December 25th is when I started Writing In the Basement under the Horizon Facing a Crisis, Temptations of Silence Drinking and Driving without a License Act without Guidance and Attract the Sirens

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6. Quartet III: Gubbinal (Scherzo)

Quartet III: Gubbinal (Scherzo)

Blue Engine String Quartet (Jennifer Jones and Anne Simons, violins; Kerry Kavalo, viola; Benjamin Marmen, guest cello). I. A fanatic heart The swiftly increasing ferocity of this movement emerges through obsessive motives in polyrhythmic superposition, nested in a starkly etched texture. A meditative passage of successive rising minor seconds frames the movement, and is also heard at its core. It echoes the bleak desolation which fanaticism, whether collective or personal, brings in its wake.
 II. Lament The Lament can be understood as a grieving response to the first movement. There are no changes of time signature or tempo anywhere in the movement, which is an extremely unusual procedure in my music! A plaintive arioso for solo violin gives way to a shadowy descent. Descending figures play a prominent role in the texture which accompanies the principal melody. An ascent from the depths, as if reversing the initial descent, leads to an ethereal coda, punctuated by descending gestures from the second violin, as if its cries of distress were echoing into space. III. Gubbinal The third movement is a kind of scherzo, a dialogue between two contrasting views of life. The upper strings insistently make their case for a cheerful, buoyant outlook through teasing, wheedling, pleading. The viola and cello remain firmly in opposition, at first simply responding with a stubborn NO, then articulating their grouchy disgruntled state with grumbling and whining. The title derives from Wallace Stevens' satiric poem Gubbinal, with its refrain 'The world is ugly/And the people are sad.' It has been suggested that the source of 'Gubbinal' is the slangword 'gubbins' - indicating that this is a gubbinslike proposition. IV. With growing passion The Finale emerges from desolation to affirm an increasingly passionate approach to life. It is in ABA form: the upwardly-striving, fervent melody of the opening gives way to the rhythmically insistent, jolting, thrusting energy of the central section. The irregularly pulsing rhythms provoke a new blossoming of lyricism; this prepares the return of the initial melody, intensified, transfigured, building to a swift climax, culminating in a shimmering F-sharp minor triad, whose topmost note emerges like an undying flame, burning in the air.

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7. Quartet II: Lament

Quartet II: Lament

Blue Engine String Quartet (Jennifer Jones and Anne Simons, violins; Kerry Kavalo, viola; Benjamin Marmen, guest cello). I. A fanatic heart The swiftly increasing ferocity of this movement emerges through obsessive motives in polyrhythmic superposition, nested in a starkly etched texture. A meditative passage of successive rising minor seconds frames the movement, and is also heard at its core. It echoes the bleak desolation which fanaticism, whether collective or personal, brings in its wake.
 II. Lament The Lament can be understood as a grieving response to the first movement. There are no changes of time signature or tempo anywhere in the movement, which is an extremely unusual procedure in my music! A plaintive arioso for solo violin gives way to a shadowy descent. Descending figures play a prominent role in the texture which accompanies the principal melody. An ascent from the depths, as if reversing the initial descent, leads to an ethereal coda, punctuated by descending gestures from the second violin, as if its cries of distress were echoing into space. III. Gubbinal The third movement is a kind of scherzo, a dialogue between two contrasting views of life. The upper strings insistently make their case for a cheerful, buoyant outlook through teasing, wheedling, pleading. The viola and cello remain firmly in opposition, at first simply responding with a stubborn NO, then articulating their grouchy disgruntled state with grumbling and whining. The title derives from Wallace Stevens' satiric poem Gubbinal, with its refrain 'The world is ugly/And the people are sad.' It has been suggested that the source of 'Gubbinal' is the slangword 'gubbins' - indicating that this is a gubbinslike proposition. IV. With growing passion The Finale emerges from desolation to affirm an increasingly passionate approach to life. It is in ABA form: the upwardly-striving, fervent melody of the opening gives way to the rhythmically insistent, jolting, thrusting energy of the central section. The irregularly pulsing rhythms provoke a new blossoming of lyricism; this prepares the return of the initial melody, intensified, transfigured, building to a swift climax, culminating in a shimmering F-sharp minor triad, whose topmost note emerges like an undying flame, burning in the air.

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8. Quartet IV: With growing passion

Quartet IV: With growing passion

Blue Engine String Quartet (Jennifer Jones and Anne Simons, violins; Kerry Kavalo, viola; Benjamin Marmen, guest cello). I. A fanatic heart The swiftly increasing ferocity of this movement emerges through obsessive motives in polyrhythmic superposition, nested in a starkly etched texture. A meditative passage of successive rising minor seconds frames the movement, and is also heard at its core. It echoes the bleak desolation which fanaticism, whether collective or personal, brings in its wake.
 II. Lament The Lament can be understood as a grieving response to the first movement. There are no changes of time signature or tempo anywhere in the movement, which is an extremely unusual procedure in my music! A plaintive arioso for solo violin gives way to a shadowy descent. Descending figures play a prominent role in the texture which accompanies the principal melody. An ascent from the depths, as if reversing the initial descent, leads to an ethereal coda, punctuated by descending gestures from the second violin, as if its cries of distress were echoing into space. III. Gubbinal The third movement is a kind of scherzo, a dialogue between two contrasting views of life. The upper strings insistently make their case for a cheerful, buoyant outlook through teasing, wheedling, pleading. The viola and cello remain firmly in opposition, at first simply responding with a stubborn NO, then articulating their grouchy disgruntled state with grumbling and whining. The title derives from Wallace Stevens' satiric poem Gubbinal, with its refrain 'The world is ugly/And the people are sad.' It has been suggested that the source of 'Gubbinal' is the slangword 'gubbins' - indicating that this is a gubbinslike proposition. IV. With growing passion The Finale emerges from desolation to affirm an increasingly passionate approach to life. It is in ABA form: the upwardly-striving, fervent melody of the opening gives way to the rhythmically insistent, jolting, thrusting energy of the central section. The irregularly pulsing rhythms provoke a new blossoming of lyricism; this prepares the return of the initial melody, intensified, transfigured, building to a swift climax, culminating in a shimmering F-sharp minor triad, whose topmost note emerges like an undying flame, burning in the air.

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