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Found 22 results

  1. So this is the first time I ever drew a MLP character. I tried to kinda find my own style but also mix in some details with the show's artstyle (like the light spots in the eyes). What do you think? I actually just started to ink pictures a few month ago, I always only did sketches before, so this whole thing is kinda new to me. So I'll appreciate any tips or hints you can give, not only about how to draw MLP chars but also about how to ink and color pictures in general. (also I just realized I forgot the shadow on the tail... oops )
  2. I created this track based on Twiggy and Boulder. I don't know how to describe the genre but I hope you still like it:
  3. wonder if this is actually OK or not probably not but eeeeeeehhhh
  4. Here you go, the finest version of the explosion. It's far better than the mentos itself.
  5. While the show definitely follows it own style and way with how it looks and feels, I've always wondered if there should be episodes that completely deviates from its own. Nothing permanent, just something completely different like a completely different art style or change in genre for just one episode. I'd like to see the show do different things.
  6. Hello everybody, my name is Melke and I like to doodle and sketch. What I love to draw: My original creatures (The Navitus) Feral or Quadraped animals Pokemon Futuristic background and tech Steampunk stuff Clothes Natural landscapes Magical fantasy Abstract What I dislike to draw: Humans (I don't really mind anthro) Realistic drawings Urban settings Still life My current art styles: Anime Style: Able Sketchy: Adept Vector: Beginner My current softwares and tech: Adobe Photoshop CC Clip Studio Paint (used with Wacom Intuos Tablet) My deviantart is: Oh, and constructive feedback is appreciated.
  7. Well, apparently my friend started a project of doing a fan made sim dating pony game and assigned me to do a bg music when I barely knew about music rearrangement. When I was working for a while my friend canceled the project and left me with this. I recreated from smile song and it supposed to be a loop one. I don't know if it's good or not but this is all I can do at the moment.
  8. From my past that I can't seem to remember now. Due to recent views on these dynamic formations in the void. I surely can say that these are my last words as a normal mass. Because I am now transmutating from a known specie to an unknown irregular shape. But I never forget about these properties that made a little part of this countershape. This part that made some of these agressions transformable. They are the elements who created these dynamic shapes. And they helped me mutating into a neverending cycle of constant movement. But now, I got to go. Eternity calls me for this voyage where forces will collide. Bringing me to another state of mutation. “At the end, one didn't remember life as a whole but as just a string of moments.” ― David Levien
  9. Before starting my second experimental poem, I would like to talk about the influences I had to start doing these: my poems are mainly influenced by the Italian futuristic who took it's course from 1909 to 1944, people back then were interested in the future forgotting about pasts values and that's what maked people creating really dynamic type of art during those years. That's basically the core of my poems. So let's continue with the second one: When I see darkness, I basically hear nothing. It is a normal aspect of this type of visual aggresion. Right now, my thoughts are in an endless metamorphosis state. Unable to accept that my mutation will never change. The static void is coming to force a static mutation inside me. But, in the inside of my mental aspects. I remain, no external force can change my constant mental mutation. The void must accept it and he does fear my dynamic aspect of my cranium. And... it became static again. Not even close for an influence and then my internal thoughts dynamically rests. Slowly but surely... “Once we accept our limits, we go beyond them.” ― Albert Einstein
  10. So before starting my first Experimental Poem, i'd like to introduce the concept. This type of poem that I invented is composed of no rhymes whatsoever and of really experimental sentences that represents concept of fascination (Technology, the void, the cosmos, etc...) and at the end of the poem there will be a quote which will define the moral of this poem. So without further ado let's start this first one: I was a young boy, curious of what the universe was made of. Then, without a sound, everything turned to endless shapes. With my curious eyes, full of bright intents. I was staring at what was forging in this endless void of madness. I also saw agressions from what seemed to be an eternal and continuous cycle. Beneath it, there was my past, full of trangressing pictures. But, then the shapes turned into dynamic masses, telling the future was near. Interested, my eyes looked at the things and they were telling me that my end was not in the future. And if I would look at it more often then maybe my life could be free from those countershapes that forged my past. Then, none, that... is the only thing I could possibly describe of what happened next. None, yeah they were none. “Forgetting is something time alone takes care of, but forgiveness is an act of volition, and only the sufferer is qualified to make the decision” ― Simon Wiesenthal
  11. This is my review of Death Grips' newest album: "Jenny Death". These songs, and this review contains Explicit material, as well as my own opinion. Track 1: I Break Mirrors with my Face in the United States The first song, "I Break Mirrors with my face in the United States", is a really up-tempo and fast song, Which isn't very common in Death Grips' songs. A lot of songs have fast sections, but this song is fast all the way through which you don't see a lot of. its a real head-banger and 'Fuck You' songs that gives off a lot of attitude and really prepares you for the album Track 2: Inanimate Sensation Being a Death Grips fan, I listened to this song a lot before the release, since it came out on their Youtube channel, and hearing this song again gave me a sense of familiarity before the rest of the album. Knowing that two good songs in a row sort of made me assume the rest were gonna be good, showing the awesome placement of songs made by the band to build hype. The album version also added new parts added as well, so it mildly surprised me. For the song itself, its weird, but surprisingly grows on you. Its very unique, and has that amazing Death Grips sound Track 3: Turned Off This song starts off with a killer sounding guitar, which is also pretty rare for Death Grips, most of the time its used to be part of the blaring noise, but the solo here is really awesome. It then jumps ahead into a massive fast beat, which slightly slows down afterwards. These beats sound really awesome put together, and most bands would change the tempo to always match, which would sacrifice a good portion of the song, but Death Grips really experiment with changing the tempo, and the output is really awesome. This is the definition of experimental Track 4: Why a Bitch Gotta Lie This song starts off with your average Death Grips weirdness, but slowly transitions into a somewhat aggressive beat. The surround sound is pretty cool too, and people are comparing the robot voices to Daft Punk, which is sorta silly for a one-time song. The Guitar is pretty fucking cool. Nothing too great about it though but it is a solid, great song that deserves a good place in this album Track 5: Pss Pss This song made me laugh the first few times I heard, mostly because it pokes at other rap songs and has some funny lyrics. "Have a sad cum baby", "my shits been retarded since beginning of time", and "I piss on your face like i'm pss pss pss" are funny and memorable. The airhorn is unexpected, but still comical. The breakdown is pretty Psychedelic too. Track 6: The Powers That B "What The Fuck Happened" Being the main song titled after the two-part album, you know it has to be good. Nice solid chords, sounds, and vocals, and the drums are really cool here. This is basically the average death grips song done right in every single way. Although it lacks the little extra each other song introduced, its a nice change to see Death Grips do what they're famous for. Track 7: Beyond Alive Yet Another unique song with more instramentals then expected. Awesome guitar and drums that are actually audible. Awesome breakdown and outro. Track 8: Centuries of Damn The chords sound really awesome, and go well with the drums. It feels like you just got a ton off your chest when they both combine, and then you go zero gravity when Stefan comes in with his signature vocals. The lyrics are pretty deep too. Never thought Id hear an awesome song like this on a Death Grips album. Track 9: On GP Another one of the songs that came out boefore the album. If I could give an award to this song, I would. This song is my favorite on the whole album. The Guitar and Drums are just so amazing together, and just listening to this song over and over again makes it better, not worse. Then an organ comes in and just beings you to tears with these chords. I must of listened to this over and over a few times, just to get to the psychedelic part that is extremely unique. If this song was without vocals, I wouldn't think it was death grips, but I would still love it. The lyrics are pretty saddening too. 11/10 If I could Track 10: Death Grips 2.0 The song takes the sense of closure that On GP gives, and completely destroys it. If you thought you had questions going into Jenny Death, you now have even more questions. The reason "Death Grips 2.0" was included is so that things feel incomplete, and that if you were looking for closure, you're not finding it here. An odd ending for the final Death Grips album Is it? I guess we will have to wait... --- Thanks for reading my review! If you want me to give my opinions of a certain recent track or album, send me a message and I'll give it a consider! -Rogue
  12. So this is the second song i ever made from back last year. I mixed it today and decided to share it So there you go Tell meh what you think
  13. Hi Everypony! It's been a while since I last posted some music, so without any further ado, I present you my latest musical piece. This one is a 180 degree turn on my earlier track, I posted a few months ago. I think, it could be best described as experimental, melodic, noise... something. It started out as some experimentation with distorted sounds and instruments, and gained enough momentum to actually get finished in a week, which can't be said for my other projects. So... Enjoy, and leave some comments/posts if you have anything to share, ask, or just feel like typing something P.S.: I also attached the mp3 version if anypony'd like to download it Orange Riff - Lunar Madness.mp3
  14. Dedicated to all bronies and brony musicians and new musicians towards the future we go fighting everyday with our hopes and music,i love you all so much you are my Golden harvest of admiration If you enjoyed please subscribe it helps alot thanks bros and sisters :3 heres my soundcloud :
  15. Synths were recorded from my AX60, essentially a progressive house/experimental/sort of moombahton track I created about Pinka. I hope you all enjoy it.
  16. Possibly the most dauntingly impossible review I'll have to do for this series. Swans is considered to be one of the greatest bands in underground music, and with good reason. Ever since the early 80's, this Michael Gira project has put out album after album, with their style changing indescribably from era to era. The early 80's saw their contributions to no wave and noise rock with "Filth," "Cop," "Greed," and "Holy Money," moving into a style more reminiscent of post-punk (but still with their noise rock influence) on "Children of God." On "The Burning World," "White Light from the Mouth of Infinity," and "Love of Life," they became much more gothic and put a slight emphasis on harmony. From then on, from "The Great Annihilator" until today, they've combined all their previous influences with post-rock and drone elements, in addition to a ton of other things that I just can't begin to describe. The middle of this later period (or, the end of their career in the 90's before their breakup) saw the release of Swans' final album, "Soundtracks for the Blind." It would be fourteen years until they made a return in 2010. This was easily the most ambitious the group had gotten up to this point, and they may never top the innovation found on here. However, seeing (or hearing) this innovation may be difficult for more casual listeners, as this album is nearly two and a half hours long, and many of these tracks are based around musical themes rather than structure, and you can't tell who's playing what or even what's being played much of the time. It combines studio material with several live tracks, and these songs can be anything from ambient soundscapes to post-rock funeral dirges to old-school EDM to straight up noise and unnerving quiet energy. The album opens up with "Red Velvet Corridor," an instrumental of sorts which has some very interesting keyboard sounds in front of what feels like noise, and a few drones that enter and exit throughout. This cuts off suddenly and in fades "I Was a Prisoner in Your Skull," easily one of the high points on the record. An absolutely gorgeous synth chord introduces itself, with a tone that feels equally chilling and majestic. Juxtaposing with this wall of sound is a looped recording of a voice babbling incessantly, in an almost cynical and mocking way. The chord morphs into a sheet of noise and some drums come up in the mix in the back and the track evolves into what finally sounds almost like a band playing. As soon as it starts, however, it's cut short by more noise and a slide whistle. This is where the album takes a turn for something absolutely sinister. A voice appears in the track and says the following: Testing... one, two, three. Well... well fuck, I mean; I just don't know what to say. I'm very glad to be here with you tonight, I'll be able to talk to you about some things...that I know a great deal about. Everyone knows that you are fucked up. And everyone knows that I am fucked up. But, does everyone know that you are more fucked up than me? Well, I know that. And you know that. But our purpose is to tell everyone that. He begins to tell everyone just that, using this and other examples as proof: Take for instance, the time you went to the bathroom, to take a shower. You had some soap, a towel, shampoo, washcloth, a brush, everything was set. But you had to call me to come turn on the water for you. You didn't know where or how. That is one instance of how fucked up you are. It's almost like the voice you're hearing is your conscious reminding you that he's necessary in your day-to-day life to keep you from being unable to do anything, and it's where the album first introduces these themes of insanity and dependence. Now of course, I can't break down the whole album like this (we'd be here all day), so I'll touch down quickly on some highlights and you can fill in the details once you've listened to them. "Yum-Yab Killers" is a live track that draws heavily from punk rock, featuring a female vocal (which I can only assume is their keyboardist Jarboe) and it's possibly the most accessible moment across this record's two discs. "Volcano" is another track with a female vocal, featuring skittering hi-hats, a four to the floor kick, and a lot of uplifting chord progressions to mask its (once again) haunting lyrics. "Animus" is the second of three or four of those post-rock funeral dirges I was talking about earlier; once you've heard one, you've heard them all, but that being said, they're all very unique for having such similar themes. "Minus Something" features one of many spoken word bits across the album. The voice on this track speaks of feeling deteriorated, upset, and drained of life, much like a lot of the music on "Soundtracks for the Blind" feels. This is easily the most diverse album I've ever heard in my life, and it certainly takes a well-trained ear and a long attention span to allow the secrets of "Soundtracks for the Blind" to unfold. But once you're in the proper time, place, and mood, everything about it begins to make sense. Number seven is on the horizon, and it may be the most esoteric album on the list.
  17. Artist: M83 Title: Dead Cities, Red Seas & Lost Ghosts Label: Mute/Mute Corporation Cat. #: 9251-2 Release Date: July 26th, 2004 Format: CD (1 x Unmixed) Tracklist: 01. Birds 02. Unrecorded 03. Run Into Flowers 04. In Church 05. America 06. On A White Lake, Near A Green Mountain 07. Noise 08. Be Wild 09. Cyborg 10. 0078h 11. Gone 12. Beauties Can Die Review: M83 became worldwide famous in 2011 and 2012, due to the release of its 6th album called "Hurry Up, We're Dreaming" and, specially, to the 2011 single "Midnight City." Some people think that this is a new band, but good Celestia, they're wrong. So wrong... M83 was formed in late 2000/early 2001 by Anthony Gonzales and Nicholas Fromageu. While I've always said that the place of origin of a musician doesn't mean he'll be influenced by the music in that place, this is indeed something that happened to both Gonzales and Fromageu, and it is the best thing that could've happened. Because of the rich musical culture in France, M83 is a collage of different styles and genres that could go so bad, but it somehow manages to sound coherent. Is like a puzzle with a thousand pieces that perfectly fits. Right now, I'm about to review the critically acclamed "Dead Cities, Red Seas & Lost Ghosts", M83's second studio album and the last one made by both Fromageu & Gonzales (nowadays Gonzales is the leader). While this one sounds a little bit different to what you heard of it recently, this album is the one that saw M83 becoming the Synth Rock band that it is this day by blending both its Ambient/Noise/Leftfield background with Synth Pop/Shoegaze sounds. This will be an album full of exciting musical textures and beautiful soundscapes, backed up by my own story/interpretation of this album. Anyway, lets get ready for this musical journey... Things start with "Birds", a lovely track that practically screams "'Dead Cities, Red Seas & Lost Ghosts' in a nutshell!". Ambient recordings of birds, a lo-fi glitching texture and some lovely strings build up the moment while the glitch texture becomes robot-ish voice which magically fades in and repeats "sun is shining, birds are singing, flowers are growing, clouds are looming and I am flying" before stopping all of a sudden. One of the best ways to introduce an album and the beggining of this journet through several magical places. Next, the first track of this album kicks in with some strings playing while the toms mark the beggining of one of several great moments. "Unrecorded" is definitely a great musical piece that sounds both so warm and cold. The ambiguity of this track makes it even more appealing, specially with the gloomy pads and the subtle keys on the middle break while an acid synth serves as a texture generator. The contrast in this track is so lovely that the only bad thing is the fact that it ends too soon (at least for me). Now that we got ourselves a gloomy feeling, is time to get our heads up with "Run Into Flowers." While the shoegaze inspiration is obvious in this one, this is still one of those tracks that works because of it's clever musical structure that can be enjoyed by everyone. Still, I believe there's weird simbolism in this song (a man asking for "peace and chemicals" while a lady repeats "flowers" every two seconds. Can't stop thinking about the 60's somehow...). If you took some drugs with the last track (somehow...) then is time to confess your sins "In Church." This is a lovely ambient track with some beautiful organs and cleverly used glitchy textures while adding background voices to simulate a chorus. Then the track becomes epic by adding a lovely pad and bass that raises the feeling. This one has to be one of the best ambient tracks ever made (and they do have some amazing sound engineers, in my opinion). While we get out of church, we face reality once more in "America." The looping ambient recordings lead us to upbeat drums, keys and the use of movie dialogues (something that was used too much on the previous album). All of a sudden the music stops to leave us on with an hypnotic synth note that slowly gets pitched up while bringing back the previous elements and adding a noisey synth to create one of the best moments in the album. The soundscape created by this track is so energetic and up-paced that it'll be hard to continue after moving out of this dead city. Holy sh*t! Slowly fading in, some strings and the ambient recordings on a mountain (at least that's what it seems to be) introduce another epic moment in this album. "On A White Lake, Near a Green Mountain" comes in and deliver us another ambiguous moment: We feel like this is an epic but melancholic journey to some beautiful but dangerous destination. You can feel both the beauty and desolation of this place with this masterpiece that ends abruptly with a simple yet stunning snare that marks the end of a precious agony. But this is not the end, no sir. As abrupt as the previous ending, we have a sudden beginning with "Noise," which reaffirms you that this is indeed a Synth Rock album. The beautiful structure is backed up by the tight drums, excellent guitar riffs, beautifully executed keys and all slowly becomes "white" due to the reverb (like, lets say... White noise?! THIS GUYS ARE SO CLEVER!). It feels like my life is just fading away so I can rest in peace from all the hatred and despair... Or at least it was about to fade away, but somehow I'm safe now, and the journey's not over. Since I'm alive, is time to become part of this place, to leave those dead cities once and for all to embrace this beautiful and desolated place that sometimes seems to be where ghosts hang around and dead wanders. I guess it's time to "Be Wild" and face the other side of the world. Now focusing on the musical aspect, this one is by far iconic and epic. Oddly, this is not as ambiguous as the other tracks (something that has prevailed this far), but more like a "challenge accepted." The lovely lead is backed up by subtle pads and those lovely glitching textures that continue to appear throughout the entire album. Some background vocals before the middle section and BOOM! A beautiful synth kicks in with some perfectly programmed addicional keys that are so playful and harmonic!.. And all of a sudden, we have yet another abrupt ending that cleverly uses the exclamation of a woman in it (AH!-) and some "whistled" delay. Now, we have to get rid of our feelings to become tough and hard. Is time to become "Cyborgs" to survive this place; this is my mission now. This track is beatufilly structured and cleverly uses some industrial textures and old school 16 bit sounds to sound like real cyborgs. It feels like you're listening to a glorified video game theme. But like 16 times more epic. The climax comes when a guitar is introduced and creates one of harsh moment that makes everything even more beautiful somehow. It slowly fades away while lopping the same section over and over again, like a robot following the same order again and again... Now, I've survived this place for "0078h" straight, and I'll continue fighting this land. This track is really energetic and has a great pop feeling that anyone can listen to (no wonder why it was a single). The beautifully chopped vocals are a plus and the upbeat drums are awesome! Too bad that it feels like it's out of place (compared to the rest of the album, I mean. After some really lovely and relaxed moments, this one goes too fast!), but is just a really minor flaw. Wait a minute... I was alive some moments ago. Am I... "Gone" now?! We almost reach the end of this album, and is time to die with this awesome track. The strings sound almost in your face while the drums start to fill the room with their slowly paced programming. Warm pads and other strings join the party before a noisey synth slowly fades in and turns into a scream, a realisation: You're gone. You can feel the desperation in this track, the realisation of your death. And the resignation of accepting the end. But in the end, I have to see the bright side of things and see the beautiful places you found, the great journey you had and the fact that I've finally understand that "Beauties Can Die." And then become ghosts who are lost for eternity. Just like me. Just like them. Just like you. Just. Like. All. Of. Us. And we will come back to this special place we died on. To make the living realise the same. To make them join us. Forever. Final Thoughs: The final track is the end of the journey and I really don't want to spoil a beautiful ending, that's the reason I didn't talk about it. I really love this album to dead. Both Fromageu and Gonzales are musical geniuses and they created one of the most iconic and amazing electronic albums of all time. There is only one flaw in this album and is the pacing and coherent nature lost by "0078h." But, again, is just a minor flaw that won't affect the score that much. Would I recommend this album? OHFORLUNA'SSAKE!YESIWOULDANDIWILL! It is one of the most perfect albums ever made, and if you really call yourself a music fan you should listen to this as soon as possible. Not many times you find a perfect jewel in a sea of average releases. Seriously, just finish reading this review and go listen to this MASTERPIECE. 9.5/10 solidpoints + cd_solidsnake's seal of perfection. Thanks to @@Moog for the request. If you keep asking for this kind of albums to review, damn I'll love you forever (why don't you and Dawn join me down that I'm a lost ghost? We have da muffinz here :3).
  18. As the title says it, there's nothing much to see in here. For now, I only draw or do stuff just for fun, not for competition or (serious) work. Note: DO NOT request or suggest anything as the reason I made this is just to share what I see or thinking of (in the form of visual representation on paper or screen), not for skill assessment and this is not an art shop. Unless when I ask for your opinions. One that posted in another topic: Got questions? Skype me. More random stuff to come later.
  19. I don't know if this will catch on or not, seeing that stuff like this isn't quite that popular, but I think certain people will like the idea. I'll start with Colin Stetson, an avant (of course) saxophone titan. He plays the sax you see him holding in the video on this track, though it doesn't even sound like any kind of horn at first. He sings into the instrument and does some circular breathing along the way as well. That's also Laurie Anderson delivering a line of spoken word at the end. Definitely check out Stetson's 2011 album "New History Warfare Vol. 2: Judges." Let's see what the rest of you can deliver in terms of some experimental stuff.
  20. So yeah. I decided to write a fanfic involving 2 OCs, in a kind of diary-style. I don't know if anyone's done this before, and from what I've heard it's not a typical style. The fic is still in progress, but watch this space. When it's finished I'll say so. All I want to know is: Is it good, Is this a good idea and should I continue writing this? Here's a link:
  21. A song I made as a sort of "debut" song on the "record label" I'm "signed" to. Yes, I am totally using those quotation marks properly. So, Grammar Nazis, whatchagunnado? X3
  22. Ok so this one definitely isn't as good as my last one (in my opinion at least) but here we go..... I started this purely as an experiment to see what the NeXus VST is capable of, but it ended up sounding pretty cool, so... I decided to keep it I am aware that the piano melody is boring... I apologize for that. I did it free style, and in one take. I tried expanding on it, but it just ended up sounding worse lol. If anypony wants to remix this to make it more epic, go for it!