Track Details

Abandoned 2 - 4 mixes

  1. Play
    Abandoned 1589/11 Luke Richards (PRS)
    Lonely, sad & lost piano & strings
    1:44
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    • Tempo NotesSlow
    • ISRCGB-FFM-11-58911
    • PublisherAudio Network Limited
    • Release Year2011
  2. Play
    Abandoned 2 1589/42 Luke Richards (PRS)
    Minimal piano all alone & bereft
    1:36
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    • Tempo NotesSlow
    • ISRCGB-FFM-11-58942
    • PublisherAudio Network Limited
    • Release Year2011
  3. Play
    Abandoned 3 (45) 1589/43 Luke Richards (PRS)
    Lonely, sad & lost piano & strings
    0:45
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    • Tempo NotesSlow
    • ISRCGB-FFM-11-58943
    • PublisherAudio Network Limited
    • Release Year2011
  4. Play
    Abandoned 4 (30) 1589/44 Luke Richards (PRS)
    Lonely, sad & lost piano & strings
    0:30
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    • Tempo NotesSlow
    • ISRCGB-FFM-11-58944
    • PublisherAudio Network Limited
    • Release Year2011
  1. Play
    Abandonment 1868/4 2 mixes Terry Devine-King (PRS)
    Sad piano melody with slow synth textures
    1:36
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  2. Play
    Abysm 2591/4 11 mixes Jody Jenkins (PRS)
    Desolate soundscape with forlorn strings & haunting ambient piano motifs
    2:51
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  3. 4:56
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  4. Play
    Conversations With Angels 1685/5 6 mixes Luke Richards (PRS)
    Contemplative drone with minimalist piano & ambient textures
    1:56
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  5. Play
    Evanescence 1427/11 5 mixes Bruce Maginnis (APRA)
    Evocative, reverberant piano breathy flute & slow moving strings
    3:57
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  6. Play
    In the Fullness of Time 1309/5 8 mixes Paul Mottram (PRS)
    Atmospheric piano & strings in reflective mood
    3:59
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  7. Play
    Quiet Lament 1501/11 3 mixes Luke Richards (PRS)
    Emotional piano accompanied by a subtle orchestra
    4:06
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  8. Play
    Sahara 1607/7 12 mixes Helen Jane Long (PRS)
    Desolate soundscape with sombre piano, sustained strings & low drone
    1:57
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  9. Play
    Space Between 1941/2 11 mixes Barrie Gledden (PRS) | Evelyn Glennie (PRS) | Steve Dymond (PRS) | Chris Bussey (PRS)
    Sultry piano ballad with guitar melody marimba pads & slow brush drums
    2:36
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