Likewise from my past post, if you dig my ambience, check it out.
Link here:

Go ahead & check it out if you dig my ambient soundz!

It's Paradigm's 1st Birthday (or dare I say UNBirthday?) and you know what that means!
Moar tunez!! :D
The 11 track album includes the original 5 PARADIGM tracks and 6 extra, bonus super-duper brand-fracken-new noisez!



In 23 days, it will be the 1st birthday of the original Paradigm album, but I am unsure if Lessergrowth will be as important as that one day.
The reason I say this is because as time goes by, I find out new techniques and I am infatuated with the outcome of these techniques, and want to go on with it. Paradigm I had its own sound, Paradigm II [Resurrection] had its own sound, and Paradigm III [1DM:R] had its own sound. However, in September 2016 I came across a program that, when used with my adapted techniques, it grew on me the second I made anything from it.

This program gave me the ability to have a particular sound instead of different projects that can't exactly be connected when listened outside of my discography page. Through this program, I created 2 albums that had similar sound: Archfiend [Sep 13, 2016] and Reject Rehab [Oct 20, 2016]. These were my cou de grace, the two things that would change my future career forever.

And then November happened. In that month, I gathered files from the unreleased album 1st Degree Murder: Human Paradigm, and remastered them. I released the remasters on the 28th of that month. This was an immediate metamorphosis; in December it inspired me to make something big, bigger than Archfiend (not counting the original deluxe edition) and bigger than the original Paradigm. 

This project was known as The Crackless Void.
TCV went through a couple changes, which I think symbolizes the different styles/genres used in the album. For example, the 2nd track, "A Tear In The Fabric" starts off with a low-pitched MIDI sequence, then transitions to a chiptune, and in the final seconds lowers pitch and tempo, dropping in quality before the next song plays.

This was the first "actually experimental" album I'd made, hence the three dark piano songs, one of which is reversed and altered, making it seem like a type of orchestral song. The rest of the songs after the "Wake Up!" interlude were some type of godsend, as it appeared to be a comeback [The Coal-black Hands of a False God] to the original formula [Paradigm I], but through some metamorphosis unlike the likes of Archfiend - Reject Rehab.
After I finished editing some of the songs last-minute, I released the album on January 30th, 2017.

That brings us to the present day, or a month or two before it. In April, I had the habit of editing songs, fixing and refurbishing them [Paradigm Remastered +, March 13, 2017] into something better. Because of this habit, I eneded up taking tracks from TCV and using them as samples of some sort, toning the atmosphere deeper into the darkness.

THIS unholy beast is known as Queen Of The Flies, some sort of nod toward Lilith in the Paradigm Mythos lore of mine. I didn't exactly know what I was doing, but the outcome was somewhat satisfying. Mainly because Apollyon makes me think of the unthinkable--the track, not the demon, of course. 
The main highlight of the album is the two tracks that are recognizable in technique -- you guessed it right -- PIANO tracks. Don't get me wrong, I love making these, but sometimes I feel like they're not in the right place, and only feel right if there is an Archfiendesque instrumental in the background.

Which brings me to my conclusion -- I suppose a new formula can be crafted by combining already existing ones, giving the illusion of being a spiritual successor to The Crackless Void -- or will it?
For now, I'm not sure. However, what I am sure of is a collection of piano songs.

Stay tuned, loves!
- snoozly