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This can be downloaded for free here (view full wiki for links):

FLAC (585 kbps, 273 MB)
Ogg Vorbis (q8.0, 221 kbps, 103 MB)
AAC/MP4/.m4a (q0.65, 217 kbps, 102 MB)
MP3 (V0, 223 kbps, 104 MB)

Any of these will sound way better than the versions on, which are 128kbps mp3 transcoded from an encode with an old version of LAME that had frequencies above 16.5 kHz cut off.

Track listing:

1. Untitled I - 1:20
2. Untitled II - 2:37
3. Untitled III - 2:31
4. Untitled IV - 5:11
5. Untitled V - 3:02
6. Untitled VI - 2:35
7. Untitled XII - 2:36
8. Untitled VIII - 3:52
9. Untitled IX - 1:19
10. Forces Brewing from the Centre of the Earth - 0:36
11. Where's Anastasia?
12. The Calm Before the Storm - 3:31
13. The Tempest - 2:24
14. Surface Tension - 1:07
15. All Hallows Eve - 3:35
16. Sealine
17. Once Upon a Time - 0:48
18. Greensleeves - 1:55
19. The Chase - 1:26
20. Once Upon a Theme - 3:12
21. Chopsticks - 1:36
22. Los Correos - 4:16
23. The Colour of Night - 4:33
24. Greensleeves (reprise) - 1:45
25. The Eye of the Storm - 3:33
(total: 65:17)

Creator's comments (Please read before sharing files):

This collection incorporates some previously released material which had been transferred from a cassette. Understandably, the sound quality of that version was much lower than the sound quality of this one, which comes directly from the synthesizer (the sound quality still isn't perfect because I had to transfer the audio from synthesizer to computer over an analogue link, which resulted in a slight bit of analogue hiss which I have chosen to remove via noise reduction, but it's way better than the cassette transfer and probably as good as we're going to get without me shelling out $1,000+ for a better cable). Do note that I was forced to abandon working on this material by the fact that my composition software suddenly quit working, so if parts of the arrangements sound unfinished, that's because they are. I have since revised the material slightly, but I consider the bulk of the material to be by no means anywhere near finished. It will be finished at some indeterminate point in the future after I have regained my inspiration to work on it.

The Untitled pieces come from a collection which I previously released on a tape. The original track names were mostly silly and named after dog breeds, and as I had lost the track list for several years, I uploaded them without titles. (Now that I have them, I'm fairly certain they're not fitting enough to bother releasing; I can't see how any of them would add anything to anyone else's understanding of the pieces in question). Several pieces from that tape are now omitted either due to having been duplicated in the later song cycle which comprises the bulk of the material here, or, in the cases of Untitled VII and Untitled XIV, simply due to having been retrospectively deemed to be of insufficient quality. An additional track was lost due to the fact that the piece I thought to be Untitled XI actually turned out to be the intro to Untitled XII. The merged Untitled XII has since taken the place of Untitled VII in the song cycle, which now ends after Untitled IX. (Discerning listeners will note that Untitled IX is effectively a synth version of Surface Tension. I couldn't decide which version I preferred, nor could I come up with anything to replace its impact in either song cycle; thus both versions have been included).

The remainder of the compilation consists of two works that I originally envisioned as concertos for two pianos; however, hindsight prevailed upon me to add full band arrangements to portions of the works. I never actually finished the arrangements. Also, The Eye of the Storm was originally the end of the first suite (Sealine being the penultimate track of said suite), but, several years after the fact, I decided it made a better conclusion to the overall suite than Greensleeves (Reprise) did. The first suite (tracks 10-16 and 25) entirely predates the second one (tracks 17-24) in terms of composition date; from what I recall, four tracks were written before I came up with the concept of the suite. I am reasonably certain that All Hallows Eve was the first song to be written, followed by Sealine and The Tempest, then Where's Anastasia?, then the rest of the suite. I am reasonably certain the second suite was written in roughly the order in which it appears.

Of the pieces within these suites, Greensleeves and Chopsticks are obviously rearrangements of well-known traditional works, though I have taken substantial liberty in adding and rearranging material to suit my whims; The Colour of Night incorporates several contributions of a friend of mine from middle school named Austin Shoemaker; and the second half of Los Correos is loosely based (mostly in structure of rhythm if I remember correctly, but as it has been over a decade since I wrote the piece my memory may be faulty) off a passacaglia that was used as a demo for a music sequencer I used. I have no idea who wrote the piece that inspired it, but it was probably in the public domain.

The composition Rainy Day Tune, which was included as a four-part suite in a previous version of this release, has been omitted from the current one as it effectively consisted of rearranged versions of All Hallows Eve and The Eye of the Storm. I eventually incorporated the rearrangements that worked into the original versions of the songs, which the original upload did not do, thus rendering it redundant in the new version of the release.

Files were in .mp3 VBR with highest bitrate possible (V0) when I uploaded them, but I suspect has transcoded them down to 128kbps. You can find higher-quality versions in my artist wiki. I would also appreciate being contacted by anyone who feels inspired enough by this music to produce original cover artwork for it.

For now, the album cover currently in use is derived from Jeff Zoline's image of the Haymarket memorial in Chicago, IL, USA, which can be found in its original state on Wikipedia's article on the Haymarket affair. Zoline has released his image under a Creative Commons Attribution-Share Alike license, which means that it may be distributed and altered as anyone sees fit as long as said message is included with the material. It also means that he has had nothing to do with this music or my use of his image, and does not endorse me or anything related to my music.

In turn, I am releasing this music under a Creative Commons Attribution-NonCommercial-ShareAlike license, which means you can distribute and modify it as you see fit as long as you do not profit monetarily from doing so and you keep this information with it.

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