Into Infinity - Sector 4

Hello everyone,

As promised, I am sharing some of my compositions.  These are all part of an ongoing project I have called Into Infinity.  It is definitely in the rock/metal categories, with significant progressive influences and occasional orchestral accompaniment.  I have written and released two short albums and one single, for a total of 9 songs.  I compose all of my music via Noteflight, and since I lack the skill and equipment of a good singer, I replaced the vocal melodies with piano.  The link on this post directs to my Bandcamp page.

Please note, however, that I am not a very serious composer, and I have studied very little music theory.  Don't ask me to analyze any of my arrangements, because there's a good chance I won't be able to.  I tend to write what sounds pleasing to my ears, rather than what is theoretically "correct."  So, I imagine some of these songs (particularly 'For The Good Of All') will make absolutely zero sense to those particularly theory-minded individuals among you.

Anyway . . . here's the first Into Infinity release, Sector 4:

Sector 4

1. For The Good Of All (6:12)

2. Breathless (8:05)

3. Contemplative (5:49)

4. The Threshold (10:00)

This is my first album, released in August of 2015.  It is a rock opera based upon a NaNoWriMo novel I wrote once, about a city in the sky divided into 4 sectors, primarily along economic lines.  The 4th sector is extremely poor, and the government decides to raze it (including its poverty-stricken residents) and rebuild.  A massive protest divides the city, but the plan goes on.  The main character, the 16-year-old son of an influential city leader, falls in love with a girl from the 4th sector, and tries to save her from the genocide.  The two are forced into hiding, but eventually are found.  In reaction to their strict sentences, they escape and decide to jump out of the city, into the abyss.

The album is a bit diverse, with the first two tracks being more in the metal vein and the third being a ballad.  The closing track is a long, dramatic epic split into 3 parts. 

<iframe style="border: 0; width: 400px; height: 274px;" src="https://bandcamp.com/EmbeddedPlayer/album=1848294316/size=large/bgcol=ffffff/linkcol=0687f5/artwork=small/transparent=true/" seamless><a href="http://intoinfinity.bandcamp.com/album/sector-4">Sector 4 by Into Infinity</a></iframe>

Thank you for your attention and especially if you happened to listen to any of the compositions.  I'd be appreciative of any feedback you may wish to provide, but don't feel obligated to listen to any of it if you don't want to.

Have a nice day,

Jack W

In terms of posting, you're going to alienate a lot of people by posting too much in one post, and you will also alienate people by posting so many small compositions in a row. Space things out and pick what you think needs most information at a time. Like, I don't have time to listen to everything you have here. I'll talk about each of the first songs in the albums and the single.
For the Good of All: Cool bassline, and the hemiola and the changes in times are really refreshing. The mixing is kind of weird and laid back for what I assume is a kind of a more intense piece than anything in the funk genre. It's all kind of static. The nonfunctional parts of the song are great and provide awesome contrast. Starting in D minor with constant changes stepwise is also refreshing. It's for this reason the chorus staying in D minor pretty much throughout is a little underwhelming to me personally. The repetition also almost got to me, but generally a nicely executed piece of music.
Dreaming of You: The reverb in this one is what kills some of the sound quality, especially with chords that don't match up like E major and C major. The only chordal thing that bothered me here was a I - I progression connecting your phrases, with a slight reference to V in the last eighth note of any given phrase antecedent. Felt like there could have been more of a climactic moment since the buildup up until the middle was really well done, but this too was generally pretty well done.
Conspiracy?: The first progression struggles from a major V vs. minor i chord thing, with a G natural in the bass and a G# in the melody. The song was pretty straightforward throughout, besides the changes, but we can just say, the intent outweighs the point there. I'm not sure what was extremely experimental about this one, exactly, but still liked it okay regardless.

Good stuff!

16 hours ago, Monarcheon said:

In terms of posting, you're going to alienate a lot of people by posting too much in one post, and you will also alienate people by posting so many small compositions in a row. Space things out and pick what you think needs most information at a time. Like, I don't have time to listen to everything you have here. I'll talk about each of the first songs in the albums and the single.
For the Good of All: Cool bassline, and the hemiola and the changes in times are really refreshing. The mixing is kind of weird and laid back for what I assume is a kind of a more intense piece than anything in the funk genre. It's all kind of static. The nonfunctional parts of the song are great and provide awesome contrast. Starting in D minor with constant changes stepwise is also refreshing. It's for this reason the chorus staying in D minor pretty much throughout is a little underwhelming to me personally. The repetition also almost got to me, but generally a nicely executed piece of music.
Dreaming of You: The reverb in this one is what kills some of the sound quality, especially with chords that don't match up like E major and C major. The only chordal thing that bothered me here was a I - I progression connecting your phrases, with a slight reference to V in the last eighth note of any given phrase antecedent. Felt like there could have been more of a climactic moment since the buildup up until the middle was really well done, but this too was generally pretty well done.
Conspiracy?: The first progression struggles from a major V vs. minor i chord thing, with a G natural in the bass and a G# in the melody. The song was pretty straightforward throughout, besides the changes, but we can just say, the intent outweighs the point there. I'm not sure what was extremely experimental about this one, exactly, but still liked it okay regardless.

Good stuff!

 

Ah, thank you for pointing that out!  I will remove some of the music from this post for now.

And thank you also for the reviews of those three tracks!  I think what I thought was experimental about 'Conspiracy?' was its use of several perspectives, and changing the tone of the music to fit the transitions between those perspectives.

Also, do you have any idea how to embed a Bandcamp player into a post?  I've pasted the code into the title post, but it does not appear to work.