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Pronounced "trwa-nix." I dream up meepy dreams full of meep.
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Annette Singh @Troisnyx

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Troisnyx's News

Posted by Troisnyx - 1 day ago


Hey everyone, Troisnyx here, back with a new track, hallowed silence!


I'd like to talk a fair bit about this thing, what led it to be written, and how it is close to my heart. This gets into some very weighty stuff. Please bear with me.




We've all joked about COVID-19, we've all made light of it in the face of pretty terrifying circumstances -- but we can't deny that because we know plenty of friends now thanks to the internet, we're going to know people who have been infected. We may even know people who might succumb to the illness and something like this doesn't bear thinking about. It's horrible.


We can't say anything apart from, "These are strange times." Although I hear ripplings of another phrase, "I hope this time brings about much-needed change. For the better."


And these words weigh on us heavily. We know that when we emerge from this situation -- whenever that may be -- things are not going to be the same ever again. Many of us will be left traumatised by what we'll have witnessed or heard. All the time spent cooped up is going to weigh heavily on us already. We're opening our eyes to the things that for years have been deemed impossible, but have been done at the drop of a hat due to the global pandemic: in the UK, the writing off of the debt of the NHS, and the rehousing of the homeless overnight, are two such examples.


These are sobering times. They are making us reflect, retreat, contemplate what sort of renewal we desperately need, as individuals and as a people.




This is Holy Week. Soon it'll be Maundy Thursday, Good Friday, Holy Saturday, Easter Sunday... and these are the first sacred days that I, as a Christian -- as a Catholic -- will need to spend indoors, rather than in the church grounds soaking in the beauty of these days and celebrating with my friends. And there's the obvious reason of not wanting to infect people. That reason weighs heavily on me, as my beloved Seán is doubly immunocompromised due to his conditions. I need to protect him come what may, especially during these times.


I ask this now, in the face of a global pandemic -- but I'm sure this question has been asked by many a person in their bleakest situations: in the face of all this suffering, how do we hope? How do we make alleluias ring?


In doing this song, I feel I've discovered the answer: we don't. It is drawn from our lips like a beautiful sound made on the instrument closest to our hearts. This is especially the case when we ourselves don't have the strength to cough out the first couple syllables of an alleluia. This was what happened to me when this song was produced.


Not too long from the start of the lockdown, there was an Urbi et orbi message from Pope Francis. You've all seen the pictures: the old man in white, alone, in the rain, delivering this message as it is broadcast around the world, while around him, it is empty. Urbi et orbi means "to the city and to the world," and a message like this is normally reserved for the major feast days: Easter and Christmas. I watched the message with my Seán, and after the Pope delivered his message, there was a period of silent adoration. It was in this silence, that the words of the choruses came to me, stayed in my head, and would not depart from me.


O hallowed silence the world over!

No song of mine can ever add to your beauty,

O hallowed silence on the altar!

You are fitting melody,

you are fitting melody---


I have been going through a period of uncertainty and despair, two things very easily felt when made to be imprisoned all alone. (I'm not alone, I'm with my Seán, but being at home constantly instead of going out doing routine things gives more time for my emotions to stew, makes me more prone to ruminating.) In this despair, these words were drawn out of me. Then, as if drawn from my lips the way a rousing beat is drawn from a drummer's hands, the other lyrics and their respective melodies immediately followed suit.


I wrote the lyrics expressing my feelings, but also the feelings of people around me who are impacted in various ways by the pandemic. There are subtle references to the lockdowns (cf. cast aside in silent prisons of our own), and more blatant references to the sickness, death and decay all around us. There is a silence hovering over the land as a direct consequence of many of us not being able to go out except in limited circumstances. To me, that silence is sobering, painful, but not deafening. It is holy; it scours away at my own heart like fire burning away certain stains, or a strong abrasive.


The lyrics that were drawn from my lips ended in hope. They refused to end in despair.




What will my own life, and the lives of my loved ones, be like when we see the end of this pandemic?


For me, this song is a prayer, and I've heard many people dismiss prayers as mere nothings. Understandably, since the amount of people who have offered empty "thoughts and prayers" instead of being roused to action, whether on their own strength or by these same thoughts and prayers, is blindingly huge, over issues that should have been resolved ages ago.


When my time on this earth is over, I want to die knowing I did God's will on earth -- knowing that I did my damnedest to help those in need. It's hard, but I would much rather that than a half-arsed effort. This silence is making me think what I can do, at any given point in time. The world around me is not going to be the same ever again, but how? These words were a song, and I sang like I meant that song with every fibre of my being. It is calling me to live in that way, too, and to not give in to despair. It is screaming with all the emotion that would otherwise stop me from singing.


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Posted by Troisnyx - 1 month ago


It's been a long while since we've seen birthday threads on the audio forum. I figured it'd be nice to bring them back, that we can bring special attention to our friends who are born on a particular date, when that date rolls round, and just show our appreciation for them.


Starting with @LucidShadowDreamer, since I know when his birthday falls: it's today!


If you're a musician on NG and like the idea,


  1. Drop a comment below about when your birthday is!
  2. When someone's birthday rolls round, let's show them love on the thread for them on the AP, and make sure to listen to and review their work — for those of us who can go the extra mile to promote or link them up with people, let's do that!
  3. Let's keep this going for as many people as we can!


There we go. I hope to hear from as many of you as possible! I might even update this to form an AP birthday calendar of sorts.


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Posted by Troisnyx - 1 month ago


Hey everyone, Troisnyx here. I'd like to begin by talking about my newest audio track, child of the woods.



It's a long, harrowing song with a long, harrowing history behind it. To you who would listen, sit by, while I tell you all the tale.




In my teens the plight of certain indigenous peoples where I grew up (the Orang Asli) came to my attention for the first time, through articles recounting the exploits of human rights commissioners, social workers from the Church and from other cross-sections of society, and elsewhere. Prior to that I hardly knew anything about them. I only knew of them from one, non-compulsory revision book for Year 9 history that I got from a major bookstore. And if such revision books were beyond my means, I likely would not have known anything about them.


You see, unless things have changed in the last ten years, the Orang Asli aren't even considered indigenous people, despite them having been there for far longer than anyone else has. They live in the forests, but the forests are being rapidly cut down for palm oil and wood, and these people's way of life is destroyed.


Sound familiar? That's because it's still happening, not just to the Orang Asli, but to the Amazonians, and to many other indigenous groups -- it likely will have happened to the Aborigines in Australia, and many Native Americans can recount to us the amount of ancestral land and tribes eradicated in similar, callous manners by greedy people. I only have secondhand knowledge of this matter from being exposed to the truth by people who worked with the Orang Asli, and I wanted to write about this matter in my teens, but no words could ever come to me. Those of you who have been following me for long enough know that I wrote about plenty of things in my teenage years that qualified me as being a dissident; I desperately wanted to write about the Orang Asli, but I felt I lacked the firsthand witness from the people who suffered, and are likely still suffering.


Ten years on, that subject matter still breaks my heart, no less because I see the same thing happening with indigenous peoples whose forests are set ablaze by wicked people. In October of last year, I was certain that the time had come for me to finally write about that subject matter, so I teased it in my Discord server and elsewhere. I made two livestream videos about me composing the instrumental to what would become child of the woods.


It wouldn't be my run-of-the-mill protest song: I would give it the garb of fantasy and tabletop RPGs, specifically Dungeons & Dragons. That was also something I held pretty close to my heart, as I love RPGs and fantasy, and my Seán and I were both in a local Dungeons & Dragons guild at the time. Many of us relate to the fantasy and RPG aesthetic, I figured, so I could weave a fantasy tale about a dying race of druids.


When the new year 2020 rolled round, I was working on Astgaban -- which I will be speaking of below -- and I also decided that child of the woods would be my first solo release of the year. To that end, I began drawing:


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These were the lines and shading (all done on MS PowerPoint) to what would become the sleeve cover for child of the woods.



I felt my drawing quality was inconsistent -- there were times I felt that I could churn out decent artwork, and times where it wasn't that decent -- but what mattered more to me were the song and its message. Fun fact: I based the druids' costumes on some Orang Asli clothes.


The lyrics took me forever and a day to write; I was often at a loss for words. I kept wanting to convey this message, I kept wanting to keep to my usual poetic lyrical style. Even now I don't know if I've done alright on those.


The music for child of the woods didn't take me long to produce, but the recordings took me a long time to get done, owing to the fact that by the time I needed to make a start on those, it was storm season; we had four storms batter us over a six-week period. The wind howling outside the window, and other things battering the window (including hail) made it impossible for me to sit down and record things.


Then finally, Sunday 8 March 2020 came along; it would be the day I began mixing this. I finished mixing and mastering it the day after.


As I mentioned in the description of that piece, I choked up, especially towards the end when I threw in the sound effects of wood burning. This piece has been quite the emotional weight; I'm glad to have seen it through to the end.




For those of you who have missed my previous post, my doujin circle, Aetherhythm (formerly A Reyvateil's Melody) have released a new EP, called Astgaban. As of Friday 6 March 2020, the EP is now up on Bandcamp!


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For context, this EP has four tracks; @JessieYun wrote Track 2 (Twilight), while I wrote Tracks 3 (Dusk) and 4 (AST-GA-BAN). What context I can give in this post are related to Dusk and AST-GA-BAN.


This EP also has quite the harrowing tale behind it; those of you who are following me on Twitter might have seen my longish thread about the feelings behind Dusk and AST-GA-BAN. This post is meant to be the long form of that thread.


The EP, Astgaban, was Aetherhythm's first foray into original stories, lore and songs not tied to the fandom of any video game, particularly the Ar tonelico series. There are many tales to be told that I don't think I have the head to get into right now. Aetherhythm's website for Astgaban has all the stories and artwork associated with the project thus far, you can have some good reads here.


Those of us who were composing on the tracks -- Lystrialle, Jessie and myself -- were given rough prompts of what these songs would be. The first track would be a song of praise and joy; the second track would be a song of harsh history and war; the third track would be a song of expectant hope after war; and the final track would be a song where the deities of our lore, the Starchildren (the Astgaban of the title), sing in reply to the three previous songs of prayer, praise, supplication and hope.




The prompt for Track 3 -- I don't remember the exact words but it went something along the lines of "a soft piano lullaby, building up into a warm swelling feeling of joy as the track progresses later on." I had experience with this, having done a cover of @Phyrnna's Sleep Wrapped in Love all the way back in 2013 with poor mixing skills. The style I used in Dusk, and my cover of Sleep Wrapped in Love, are almost identical -- except that with Dusk, I wrote four-part male harmony for this piece, Geiky wrote lyrics for this piece, and it was beautifully brought forth by Nate.


The music for Dusk was initially written as a long-distance love song for someone back in 2012, with whom I now have irreconcilable differences. In fact, it is also the context behind my AIM 2019 track distance, as these cracks in our friendship began to form a fair few years before I wrote either of the two songs. I despaired that I would never be able to bring the original song to life. It was a beautiful tune.


But seeing the prompt for what would become Dusk gave me a chance to give that old tune a new lease of life.


Dusk was the second of the tunes to start production, and the first to be finished (right up to the mix and master; the mastering for all the tracks was done by @clea). I was just grateful to have put that tune to rest at last.




And finally, track 4 of the EP, AST-GA-BAN, which still fills me with grief that comes in waves.


I should not have written this track.


In mid-December of 2018(?) we had a new member join us, who went by the name AvaliaKasa.


AvaliaKasa was especially known in the Vocaloid community, both for her songs and for her kindness. She was also an old friend of a fair few members of my doujin circle; I knew of friends who'd known her for six years by that point. When she joined us, she was intended to write the final track of the EP, and master the whole thing.


She could not. Just two days shy of the new year 2019, she died in a car crash.


I'd only known her for a few days, and her kindness and laughter touched me. I was excited to have met a new friend; I lost her almost as soon as I'd met her. Others who had known her for far longer than I were beside themselves with grief. For my part, I'd been taking her death pretty badly, weeping and grieving her a lot. And till this day my grief over her death still hits me. I don't know why this is -- nor am I in the position to surmise why.


After some months had passed, I was assigned to write this track in her stead. That track, and the whole EP by extension, would be dedicated to her memory.


I poured all the feelings of grief that I felt -- grief thinking about my friends' grief, and my own grief over having lost this new friend so soon. I didn't know Avalia's style all too well; I simply went with what I knew: quasi-liturgical music, organs, SATB choir, a repeating canon. That would be my outpouring of grief.


Geiky wrote the lyrics, and six of us sang on this: Alroetsue, Lili, Desol_Nonary, Rage, Kenta and myself. The words were of hope and response to prayers, and for my part, I felt them with every fibre of my being. The six of us who sang on the track put out a total of 50 voice tracks to be processed -- a huge number to process for me; I'd never mixed anything that voluminous before. I could hear the emotion in every track. Throughout the time that I was working on the production of this track, I felt that I could not grieve.


Then finally the time came for Clea to give me the master they did on the track. When I listened to it, the last few bars made me weep. I thought to myself then, it's over.


Astgaban was first tabled at the spring M3 convention in Tokyo on 1 March 2020 -- but the coronavirus scare scuppered all hopes of everyone tabling at M3 this time, as the turnout was less than a third of what it would normally be (the venue would normally be heaving with people). The Bandcamp release, which would normally be months down the line after an album or EP is first tabled, happened only five days later. When Alroetsue announced that the EP was finally up on Bandcamp, I wept.


I wept for I don't know how long. I couldn't hold back the tears. I was weeping for Avalia.


I don't know if I'll have made her proud with this track. I cannot presume that I have. If anything, I think that this track can never hold a candle to her legacy. But I hope she is at least at peace.


I think about her, the life she could have had -- and the future we will share.


Because I think about my own mortality a lot, and I know that none of us can ever escape it. Death comes to us all; one day, I will die just like those before me. I only pray that when that day comes, I may be found worthy of the life, light and peace my friends and I wish upon the good people, and the poor, and the sufferers.




Outside of my tendency to write sad songs these days, it has been six months to the date since I started taking drums up formally. I hope I am doing well on that front. My band -- The Just Numbers -- is playing in the centre of Preston on Sunday.


I'm still writing songs. Hopefully I'll have another new one to share with you all in the next couple weeks.


Long post is long, but I had a lot that needed writing down. How have you all been?


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6

Posted by Troisnyx - February 25th, 2020


Hey everyone. I have a huge announcement to make.

My doujin circle -- Aetherhythm (formerly A Reyvateil's Melody) are back with a new EP, Astgaban, out 1 March 2020!



The Astgaban crossfade is also available on YouTube:



You can see me unboxing this below. I hope you're excited for it as I am, and as I have been in the unboxing video. ^_^



This EP features contributions by @clea and @JessieYun and several other friends. For my part, I composed the last couple tracks, and I'm one of six vocalists on the last track. My contributions have been nonprofit as usual. The entire thing has been emotional to many of us, as it's been a tribute to a friend of ours, AvaliaKasa, who joined us for this album in late 2018 but died just two days before the start of the year 2019. I hope that you all would be glad to let us share these feelings with you in song.




"So where have you been, Trois?"


I've felt myself pulled in a gazillion different directions. I have my solo work, Soundskills, the band (The Just Numbers), the choir, ARM, and another music group, to say nothing about people who are desperate to collaborate.


I've been feeling incredibly low and I'm doing small things to break the proverbial brick wall. Some of you who have been on the Newgrounds Podcast server, and on my own Discord server and other places, will have seen a short audio fragment from me last night, for example.


However -- today is Shrove Tuesday, which means tomorrow is Ash Wednesday, the start of Lent. Things will change in these 46-or-so days leading up to m̵y̵ ̵b̵i̵r̵t̵h̵d̵a̵y̵ Easter Sunday:


  1. child of the woods is still in production, but it will be the only song of mine in production during Lent. I am otherwise taking a break from audio production in Lent.
  2. I am not taking a break from NG. You all can still contact me via Newgrounds PM or by Discord. Or Twitter, if you folks are on there. ^_^
  3. With my birthday actually falling on Easter Sunday this year, I'll see if I can't whip up anything special, even if it's small.


....I think that's about all I can think of. How are you all doing?


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Posted by Troisnyx - January 1st, 2020


To anyone currently collaborating with me, or considering collaborating with me: I welcome collaborations, subject to the following important rules:


  • Personal projects, offline matters and doujin projects ALWAYS take priority. These include solo stuff, ARM Circle recordings, or matters involving the band I'm in, The Just Numbers. I have a loving fiancé I want to be with for the rest of my life. He has some health conditions he lives with everyday, and when he needs me, his needs come first.


  • I get involved in a collaboration with every intention of bettering everyone involved. I expect to be voracious in my learning and make sure to come out a lot sharper in my musical skill. I look forward to anything you folks have to teach me or share with me. The same applies in reverse; in my own turn, I will challenge anyone I'm collaborating with.

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Posted by Troisnyx - December 14th, 2019


I know I'm not necessarily one to track follower counts unless I've actually hit a milestone, and it might be a stretch -- but it'd certainly be a feat if we could get to 1K by the end of the year.


So, listeners, if you enjoy what you hear from me, you know what to do. ^_^ Meanwhile, I hope to keep making greater music and art than I do now; I hope to keep reaching those heights that were always said to be impossible for me to reach. And I hope you'll all come along with me on this journey.


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Posted by Troisnyx - November 27th, 2019


It's out, everyone!!!


I'm so excited to share this with all of you.


Right now I'm tired and in bed, but I will edit this post in the near future to talk about the production of this beautiful thing. Until then, I hope you all enjoy it!


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Posted by Troisnyx - November 13th, 2019


Remember this song?


As some of you may have seen on certain Discord servers, the second edit of the music video to At the Ends of the Earth is out. It is by no means finished, and on Friday, I'll be meeting our filmographer, Chris Davis, at Soundskills to go over any possible changes.


I'm well aware that from the time I posted this song and considered it done, it's been nearly a year. Hopefully we'll see its completion not long from now!


Meanwhile, have a little teaser. It feels like I'm dangling a carrot. I don't mean to.


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Posted by Troisnyx - October 19th, 2019


Hey everyone! As promised (apologies that it took longer than usual), here is the long post update about various things over the last couple months, beginning, of course, with my most recent release on Newgrounds and Soundcloud.


I present to you all, Lead, kindly light (Sandon) ~ Troisnyx ver. Quavering voice be damned; I am glad that this was released on the day that it was, and that it was arranged, recorded, mixed and mastered in under two weeks. I wrote it to celebrate the writer of the words, John Henry Newman, being canonised -- that is to say, being made a saint -- on 13 October.


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The source image, which is already in the public domain, is a portrait of St John Henry Newman in his younger years by George Richmond (1844).


It's not everyday that I do covers these days. With the fetters tightening over creators regarding copyright, what songs can be covered or remixed and what songs can't, it's naturally become harder for me to just pick anything and everything. I know that many people can tell me tales of early this decade, or last decade even, where we could cover anything we so wished without people chasing after us to slap us with a hefty million-dollar fine or a copyright strike.


So these days, covers are a rarity from me. I try to carefully choose which ones I do, and which ones I would like to secure the licence to in future. Lead, kindly light is in the public domain, which makes it easy, but it is also my favourite hymn of all time. I'd long felt myself in a situation where I'd been beaten about by the proverbial waves without knowing where I am on the waters, and just like in the hymn, the only thing I can sigh right now is the phrase, lead Thou me on.




September was a real doozy; SO MUCH has happened during that month.


To begin, I posted a thread on Twitter that early last month, Seán and I paid a visit to my old stomping grounds of London, Hatfield and St Albans (the latter two are in Hertfordshire). Piccies attached. I said I'd make my full feelings known so I highly recommend going through the Twitter thread before reading these next couple paragraphs. Or skipping this section out entirely if you're in a TL;DR mood, because I'm not about to re-post all the photos here. There are just too many.


  • Our first night was spent watching the Tower Bridge open and close, and it was just pin-drop silence on the Westminster side of the Thames at least; it sent shivers down my spine. It was surreal to think that a city that seemingly never sleeps or quietens down such as London would actually quieten down for a few moments outside of Armistice Day.


  • The Transport Museum is always fun.


  • St Albans Abbey is a special stop to me for a few reasons: 1) it is the shrine church of Britain's first Christian martyr, St Alban, and houses his remains, 2) I graduated 2:1 in my law degree in 2012 and the graduation ceremony was held there. I'm glad Seán and I managed to make that stop.


  • Westminster Cathedral: I would never turn down a visit there. I always feel like I'm coming home after a long time away, every time I enter in.



  • The Cabinet War Rooms make for chilling, but necessary visiting given what a state Britain is in right now.


  • It appears no one has made any guesses as to what that building with scaffolding is. Guesses are still open!


  • Hobgoblins is my favourite music shop of all time. I love folk and world music, and I especially love drumming, as those of you who know me well enough know by now. Seán got me the tunable 12-inch tambourine, which I really enjoy playing -- but make no mistake, I was tempted by many of the drums in that shop, many of which are beyond our means.


  • St James' Spanish Place is a church I wanted to visit for a long time. I'm glad I did, but it's not a place I'll go back to. The Spanish Place was built on the site of two hidey-holes for Recusants during penal times, which makes me come to it to lament that in many places, history has repeated itself, just with different groups of people taking the place of the Recusants. The church itself was relatively dark and I could feel a snobby air, a sharp contrast from Westminster Cathedral.


  • The Cutty Sark is a must-visit. It is a marvellous piece of work.


  • St Paul's Cathedral, now, where do I begin? I mentioned in that Twitter thread that I'd make my feelings known, so I'll say this right now: do not visit it if you can help it. No, it's not that the place isn't beautiful. With a few exceptions, the staff were just cold and distant to visitors -- which is a damn shame considering tourists come in droves to see this place. Then there's of course, the unsettling hypocrisy that instead of images of the saints and angels, which were largely removed and replaced with empty plinths (apart from a few icons and images which were already part of the architecture), there were LOADS of monuments to people who'd lived in the past, for their intellect, military conquest or humanitarian work. Some of them are alright, but some had dubious ethics at best, more dubious than what we'd be used to in church iconography. And regardless of denomination, I have always been uneasy, there is a malaise about the practice of flying battle standards and banners in a church.


  • Seán and I didn't get to see the Globe Theatre in full; we did briefly stop in it. Maybe next time.


  • Greenwich, outside of the Cutty Sark, is a decent place but we didn't bother with photos because so much was going on in our heads at the time.




Next thing I want to talk about is the fact that the band I'm in, The Just Numbers, had four gigs over last month and this month. Three were in Preston; one was in Chorley. Of the Preston gigs, one took place in a pub that has since closed.


I've linked the Facebook page in the above paragraph so if you'd like, you can get updates about the band and its exploits. For now, here's a piccie of us during the first gig of this stretch of four, at the Vinyl Tap in Preston.


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Every gig has its peculiarities; this one was the first (and so far, only) gig where I used a house kit, bringing only my snare drum, medieval snare and cymbals.


We don't have any reliable means of securing footage from any of our gigs yet; all we know at this point is that at one of them -- not the Vinyl Tap one by the way -- the pub's owner had actually filmed us with a decent camera, and the sound came out decent as well. We hope to get some of the footage from him so that we can share it with you all. Please watch this space, and the Facebook page as well.




Finally, I want to break the silence over an image I sketched some time ago, which is this one:



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I'll need to update the image description to reflect this, but up till the time of writing this post I'd opened up guesses as to what the subject matter behind the image could be. Now, I'd only told this to a few people. Those who did have a go at guessing guessed wrong, as I imagined would happen. ^_^'


Gather round, everyone, because this is extraordinary and I keep wanting to cry.


Those of you who have been following my musical exploits will know that I've only played the drum kit for two years. I'd always had a fondness for percussion, and I began keeping the beat with the bodhrán in 2012 before slowly moving to other drums, in large part aided by my Seán. I'd always felt small because I'd been self-taught on percussion, and I was just a small fry who had been denied chances through my childhood and adolescence, mainly because of abusive parents who beat me within an inch of my life for wanting to play drums, among other things. There have been other abusive people at play too, but they don't deserve the time of day.


So I'd found it hard to believe -- even if I knew my friends and people in audiences were speaking the truth -- that they enjoyed my drumming and found it "amazing." I kept crying, thinking that this was somehow not true because I'd already been told to the face by my father that I'd never be a drummer worth a damn, to the tune of belt beatings. I thought I had to be faking it.


All this changed when, by a miracle wrought through my loved ones including Seán, I was given the opportunity to take formal training on drums in mid-September.


Within the second lesson I was informed that, notwithstanding stamina and four-way limb coordination, I am being prepared for Grade 8 -- the highest examinable level of any musical instrument under most exam boards.


I couldn't believe my ears, but this came from my tutor's lips and I just didn't know how to take it. I was so overjoyed. I cried. For the first time I finally believed in what I felt capable of. Every practice, every rehearsal was going to be fuelled with faith and self-belief, as much of it as I could inject on any given day.


Never, EVER tell yourself that it is too late. I was told this a gazillion times, in large part by people who sought to deprive me of chances to achieve things. I am 28 now. I truly started the drum kit at 26; any playing that I did prior was just once in a blue moon, an approximation of things from an unknowing fool. And to have been given this piece of news after just two years of playing makes me feel validated, and vindicated. We normally associate that kind of achievement with prodigious kids who'd been lucky enough to have funds injected into their passion. The fact that I, a person who is legally not allowed to work, a practical social pariah, was given this chance and given this earth-shattering piece of news -- now this is something that I will cherish forever. And fret not: your day will come too. I mean it with all the weight I can give to these words.


No one may choose to listen to you because of your age, but you have it in you to innovate, to scream and smash down the doors and prove your detractors wrong, to provide the musical testimony that nobody wants, the kind that everyone sorely needs. And it may happen in your twenties, or thirties, or forties, or later. It doesn't matter. Age belies circumstances, things that a person fought through, tooth and nail, to get that chance to be able to do the thing that represents their innermost heart. I have greater respect for someone who fought to do this, than for someone who started young and was lucky enough to do something. By that same vein, I don't deserve any recognition simply because I was lucky enough to have started the piano young. (And besides, many of us who started young can often let it go to our heads; I know I've been there.)


It's how sensitive we are to others' desires and sufferings, and how much we've come through that counts -- and I hope that when the time comes for me to do so, I can be sensitive to others' struggles and help them up and show them the worth that they truly have, as musicians and as persons.


These people are warriors. They will tell great musical stories with the things they do, the likes of which will be longed after for many years after their deaths. And that is why I drew a woman clad in armour, pounding a concert bass drum with the number 8 taking a significant space behind it.


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Posted by Troisnyx - October 9th, 2019


Two things.


First, a piece that I'd been teasing on both my Twitter and Discord for a while. If you haven't been kept in the loop either due to inactivity, or because you're not on the server or on Twitter, fret not: this piece will be out before Sunday.


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Here, I'll just leave this teaser so you all might figure out what or who it is.


Second, I said that I'd make a post about the trip to London that Seán and I took in September, and a post about performances I've had with The Just Numbers. That's coming soon, but first things first: I have music to work on. ;-)


But when that post comes out, it'll be a really long one. I'll get to talk about the new piece of music, the London trip, the band, and I'll probably be mentioning a couple other stories. Please watch this space.


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