There is a sameness in sound, by design, because producers milk to death what sells. Consequently everybody and their mother write, siog, play and produce in that "selling" style.

My serious music is "too weird" with all of its explorations into color and dissonance, and when orchestrated, too expensive to produce. Some casually dismiss it as "program music" because it's about weird things like landscapes, seasons, space, and spaces.

Accompanying No Kings was a work called Truth, part of my American Easter Cycle. Beginning at 1:54 is the principal theme. Very simple, and flavor changes from the changing harmony under it. "resolutions" are unexpected and so are turns from major to minor, diminished and augmented. Each propels the music forward into new harmonic material. No repetition of the same olf I IV V sh!t. Each solo instrument emerges pure and clear in its color. At 3:04 is the chorus where a solo flute climbs almost to heaven. Actually up the melodic minor scale to a resolution. But the responding clarinet emerges from within the harmony in a new and unexpected modulation. Then the horn does it, again from in the middle, into yet another unexpacted harmony. The effect is incredibly beautiful and stunning. The phrases repeat with high trumpet, horn section, and middle trumpet solos set against a shimmering light of harmonic, ever changing high strings in tremolo. The high trumpet is God. The horn section is humanity. The middle trumpet is truth where humanity meets God. They move together until they resolve.

It is also quite new. You haven't heard music like this. Nobody has.