Spoken word parts are fantastic. The second part (containing "is your sorrow really real" part) sounds very different from the opening -- that's badass. I also really like your falsetto (4:25) which I believe I've commented on before. How comfortable is the transition at 4:40 when you go from high to your normal register? (I once saw a performance of Sciarrino's flute piece that is really hard to play and I got bothered by watching a human performer struggle -- if that's comfortable enough, that's unique and I don't hear much of that and I think it's way dope.

Spoken word parts are fantastic. The second part (containing "is your sorrow really real" part) sounds very different from the opening -- that's badass. I also really like your falsetto (4:25) which I believe I've commented on before. How comfortable is the transition at 4:40 when you go from high to your normal register? (I once saw a performance of Sciarrino's flute piece that is really hard to play and I got bothered by watching a human performer struggle -- if that's comfortable enough, that's unique and I don't hear much of that and I think it's way dope.

Thanks! I recorded these bits a few different times and combined them. I'm happy with how that line came out.

My process with this piece was using a 6B pencil on paper to draw the characters, then writing some poetry about them in really large heavy strokes- a kind of kinetic act of expressing their emotions. Some lyrics were improvised, some came from this written poetry. I tried to channel the feelings of the characters in the drawings through the presentation, though I think I held back from getting too unhinged sounding, because I know my neighbors can hear me downstairs ahahaha.

Thank you-- I really was just experimenting with my vocal range and the tone/quality of my voice in expressing the range of emotions that would be felt by this character. It just kind of happened naturally- though I think at that jump at 4:40 I was specifically going for an uncomfortable, "gross" vocal noise which goes with the association of illness.

[quote=ilzxc]Spoken word parts are fantastic. The second part (containing "is your sorrow really real" part) sounds very different from the opening -- that's badass. [/quote] Thanks! I recorded these bits a few different times and combined them. I'm happy with how that line came out. My process with this piece was using a 6B pencil on paper to draw the characters, then writing some poetry about them in really large heavy strokes- a kind of kinetic act of expressing their emotions. Some lyrics were improvised, some came from this written poetry. I tried to channel the feelings of the characters in the drawings through the presentation, though I think I held back from getting too unhinged sounding, because I know my neighbors can hear me downstairs ahahaha. [quote=ilzxc] I also really like your falsetto (4:25) which I believe I've commented on before. How comfortable is the transition at 4:40 when you go from high to your normal register? (I once saw a performance of Sciarrino's flute piece that is really hard to play and I got bothered by watching a human performer struggle -- if that's comfortable enough, that's unique and I don't hear much of that and I think it's way dope.[/quote] Thank you-- I really was just experimenting with my vocal range and the tone/quality of my voice in expressing the range of emotions that would be felt by this character. It just kind of happened naturally- though I think at that jump at 4:40 I was specifically going for an uncomfortable, "gross" vocal noise which goes with the association of illness.