MAKINA is the first collection of three ranging from 2000-2005 by The Noise Diaries. The first ten tracks were originally titled The Dybbuk: Defined Static and it served as my very first recordings using the computer to hack and chop loops to oblivion in an effort to give them all new personalities and melodies. The drums were crazy in places (ie. "The Core") and the melodies from taking new shapes sometimes became completely different existances altogether (ie. "Hard Way Through", "Tragic Symphony")

After this in 2001, I began plugging my guitar into ACID 2.0, and orchestrating new versions of songs from riffs I had come up with in the mid-1990's in my first band. They were never copyrighted, and to this day are now under the creative commons license (meaning you can use them for anything you want if you ask first and give credit).

11 was for a music group that ended up never existing. 12 and 19 were for a video game I wanted to make but never did. 13-15 have been reserved for Project Warlock 2018. There are also previous versions I hacked at which are 16 and 17. 18 is merely a remake of "Metallurgy," formerly "Third Degree." 20 should be on Anamorphosis but time restrained this from happening. 21 was recorded in 2004.

ANAMORPHOSIS is my second collection of tracks made using ACID ranging from 2000-2005. Anamorphosis takes place from 2001-2003.

Favorites of friends were: Porcupine and Hold On. It actually had lyrics and primitive vocal tracks, but they have been stripped. Most of these were from a 2001 collection called Return to Go, formerly Connect the Dots. There were also all of the tracks from the 2002 Anamorphosis EP, but for the sake of keeping a collective in a nice and neat format, I have merged a lot of collections into three. There have been many cuts, but none from this era.

My own favorites would be Angel With Horns, Anamorphosis, Grimmage, and Connect The Dots.

PHENOMALY is the third and final collection of tracks ranging from 2000-2005. The title was chosen as a play on two words, phenomenon and anomaly. It was also borrowed from the name of the EP where most of the first tracks came from.

1 was made a little bit before I began making the new songs for this, and should have been on Anamorphosis but I only had so much time I could fill. It's been the intro to the original Phenomaly EP for some time, so I kept it here. It kind of bridges the old sound with the new sound. 2-8 are what's left of the original phenomaly after a couple tracks moved to other collections, mainly Makina. 9 and 10 are outtakes. 11 and 12 are collaboration tracks, 2 of the 5 I did with Will Henry that I decided to reference here. 13 through 22 are from a 2005 blackjack soundtrack I made in college for a class project.

23-26 are from Lokust Sun, along with a couple of tracks from Makina, and of course 39 others. This soundtrack was for a game idea I had that I never went through with.

ORION is a collection of what was once a disc and a half: Songs From Orion Vol. 1 and Songs From Orion Vol. 2 from the college soundtrack days. Songs From Orion Vol. 1 was only 19 tracks, and 40 minutes, but only 4 tracks were needed for our game Thanatos which you can find under the games section of this website.

Songs From Orion Vol. 2 consisted of a full 30 tracks, totalling somewhere around 55 minutes, and was used for the other flash game in class, Sin Harvest, also available under the games section of this website. It had a much darker atmosphere but a lot of the songs were still pretty damn catchy I think.

Out of all 50-something tracks including the outtakes, these were my select favorite 30 I wanted to show off and let you download free. If you are interested in using any in your game or other project, contact and credit me. Some are being used in a couple of current works in progress, like Eat Your Heart Out, so you'll just have to ask first. I don't want any two projects sharing exclusive tracks.

My favorite track: The Struggle, Reprise.

CONTINUUM is a special case. It started in 2006 when I was asked while no longer attending the college I made the previous collection in, to do another soundtrack. I was given no idea of what the game was about, so I created a really mixed bag of goods. When the time came to throw it all together I realized I wasn't near done. I grouped each track into folders arranged by beats per minute of the original tracks. Then I pulled them into ol' ACID 4.0 and arranged them so that they were in an order that would make this one continuous CD of goods that all welded together into a supertrack. The original had 56 which has been cut in one version to 50, and another (the youtube version) into 40.

Since I had them in ACID with markers for BPM changing also the BPM of ACID's section of them, it was rather easy to pull in new arrangements made to layer over the top of them. So after adding a lot of real guitar to some of the tracks, I also decided to sprinkle some sound effects that were fitting and even gregorian chants (see: Medusa). After great praise from the class, as well as there being no video game made to begin with, this became like my cult classic amongst people as it actually was pretty damn good and it's really cool how it all fell together.

DELIRIUM is a collection of three seperate years' worth of "starting back up" with orion software, programming away at synths.

In 2006, right after the tracks on Continuum, I was right back at it making these with no goal or reason. No game soundtracks were in my future for my college class. I was a year out of school but still loving this software. 1 through 15 were from this era. For a while, this selection became known as "Antagony" for its "Wretched Mastermind" track and its dark tone.

16 through 30 are from the second era, in 2011. It was originally called just "Orion Eclipse" then "Polybius" EP. This collection of originally 19 tracks was made all while laying on the couch after surgery. I wasn't too happy with some of the results, though I had planned to go 30 tracks or more, so I stopped at 19. You'll find the 4 outtakes on Lost In Oblivion in the future, by 8-Bit Armageddon.

In 2013, I created "PIXELS" EP. The end result was only 8 tracks, but there were 11 total, so since there were so many others on the other two, I just kept two outtakes "Hellfire Cove" and "Technogroove."

ARMAGEDDON is a catch-up album of getting back into the swing of things I made during working on Project Warlock 2017-2018. It was made purely for fun, and features some good tracks and some mediocre ones in my opinion.

Favorite Tracks: Snoop Frogg (formerly "Deep In The Swamp"), Helius, and Winter Solace. Most of the good tracks went to Project Warlock, and I didn't make that many in the process. So in 2017 I stopped in July and in 2018 I picked it back up in July, after the game was pretty much done. My soundtrack for it was over in January 2018. If you want to kill some time and give it a listen you may like its quirkiness.

Two tracks were outtakes from 2006's Delirium, "The Pale Horseman" and "Downtime." They fit here better anyway. Though a lot of tracks have an end of times theme, some of them are highly different. Some were derived from previous outtakes turned back into songs (See: "Toymare" and "Richochet"). You'd think a lot of these would turn out on the Hell portion of the Project Warlock soundtrack, but instead since my guitar was out of commission and I really wanted guitar I enlisted a friend, Luke Wilson, for that.

CONTINUUM II is my current project. It will follow in the footsteps of its predecessor, Continuum, and each track will weld to the next and so on, creating one huge orchestration. Although there is a player on the left with several tracks from it, it is far from finished. Proposed, I have 50 track titles that all will tell a small story. I am also thinking of a second 50-track disc with unrelated titles that will continue this to make it a double disc sort of thing in length. This is for those of you who burn CD-R's of my collections to check out in your vehicles or something.

You will notice Continuum II has a little bit of a different sound than Continuum. I've learned a lot over the years, and I actually wanted it to sound more like space songs.