Track 2949/72Endless Night 2

John Ashton Thomas (PRS) From the album Land, Sea And Earth

Icy, textural underscore with slow strings & glockenspiel. Lighter mix

One main track with multiple mixes. Download all 12 mixes of this track.

Endless Night2949/7
John Ashton Thomas (PRS)
12 mixesIcy strings, harp, bass clarinets & wintery piano

3:0068 BPM
Endless Night 22949/72
John Ashton Thomas (PRS)
12 mixesIcy, textural underscore with slow strings & glockenspiel. Lighter mix

3:0068 BPM
Endless Night 32949/73
John Ashton Thomas (PRS)
12 mixesSlow, pensive strings only mix

3:0068 BPM
Endless Night 42949/74
John Ashton Thomas (PRS)
12 mixesGentle fluttering harp & atmospheric, icy textures. Sparse mix

2:1768 BPM
Endless Night 5 (60)2949/75
John Ashton Thomas (PRS)
12 mixesStrings, harp, bass clarinets & icy textures create a scenic winter

1:0068 BPM
Endless Night 6 (60)2949/76
John Ashton Thomas (PRS)
12 mixesIcy, textural underscore with slow strings & glockenspiel. Lighter mix

1:0068 BPM
Endless Night 7 (60)2949/77
John Ashton Thomas (PRS)
12 mixesGentle fluttering harp & atmospheric, icy textures. Sparse mix

1:0068 BPM
Endless Night 8 (30)2949/78
John Ashton Thomas (PRS)
12 mixesStrings, harp, bass clarinets & icy textures create a scenic winter

0:3068 BPM
Endless Night 9 (30)2949/79
John Ashton Thomas (PRS)
12 mixesIcy, textural underscore with slow strings & glockenspiel. Lighter mix

0:3068 BPM
Endless Night 10 (30)2949/80
John Ashton Thomas (PRS)
12 mixesDelicate harmonics & e-bowed guitar create atmospheric textures

0:3068 BPM
Endless Night 11 (Sting)2949/81
John Ashton Thomas (PRS)
12 mixesOminous bass clarinet & strings sting

0:1068 BPM
Endless Night 12 (Sting)2949/82
John Ashton Thomas (PRS)
12 mixesSparse & atmospheric sting

0:0868 BPM

Key: Em
Metre: 4/4
Tempo: 68BPM
Tempo notes: Slow
Factoid: This recording features 44 string players recorded over two recording sessions. The second session was 'aleatoric' and set up 'antiphonally' with cellos in the middle and violins and violas on either side. They were then encouraged to use unconventional bowing styles and effects on their instruments which were overdubbed onto the orchestra that had been recorded earlier.