A Listener's Guide to All 22 Tracks of Piano Reveries

The Piano Reveries tracklist runs twenty-two pieces deep, and if you’ve only ever hit play on track one and let it drift, you’re getting maybe a third of what’s actually on this record. It moves from classical to flamenco to funk to chillwave without ever losing its own voice, and the order it moves in is not an accident. Here’s the whole thing, in sequence, with the honest version of what each stretch is doing.

Twenty-two pieces, one voice

Everything here was written and performed by Michael Clinesmith, the composer behind Endtime Entrepreneurs — the same person who wrote the score for the indie RPG Rebellion. In 2025 the album was performed live by the Vassar City Band, which turned these piano-led pieces into full ensemble arrangements. The versions on the album are the studio recordings: closer, quieter, and more intimate than the concert-hall version.

What makes the record hang together isn’t a single genre. It’s that one pair of hands wrote all of it. The album is tagged across classical, piano, flamenco, funk/soul, neo-classical, jazz, pop, chillwave, and thematic film-score writing — and it still sounds like one person thinking out loud rather than a playlist.

The pieces range from a forty-nine-second closer to a nearly nine-minute finale. That range is the point.

The hopeful openers

The album opens with After the Storm, a classical piece running six minutes and forty-four seconds — one of the longest tracks on the record, placed first. That’s a bold sequencing choice. It asks for your patience before it asks for anything else, and it sets the emotional altitude for everything after it.

Then the mood lifts. Play in the Grass is four minutes of unhurried piano, and The Joy in Life snaps the album awake with two and a half minutes of flamenco — the first real signal that this record isn’t going to stay in one lane. Jade’s Lullaby follows at just under three minutes, gentle and classical, the first of the album’s genuinely tender pieces.

Tracks five through seven are the three movements of the Sonatina in G — 5:21, 3:15, and 2:46. It’s the album’s most formally classical writing, a proper sonatina sitting in the middle of a record that also has funk on it, and it’s worth hearing all three movements in a row rather than shuffling into the middle of one.

The tender middle: lullabies and tributes

Track eight is where the album swerves. Minor Major is tagged funk/soul and runs seven and a half minutes, the longest piece so far — and it’s followed immediately by Minor Major 2, a neo-classical companion at 7:56, the album’s second-longest track. Back to back, that’s over fifteen minutes on one idea explored two completely different ways. If you only sample one section of this album, make it these two.

Two Beat clears the air afterward with a brisk one-minute-thirty-seven piano miniature. Then comes For Grandma, five minutes of funk/soul that carries the most openly personal title on the record — a tribute written for someone real, which is a different thing from a piece written about an idea.

Lovely Night brings the album’s only straight jazz track, three and a half minutes of it, and it lands exactly where you want a jazz tune to land: late enough that you’ve earned it.

The playful, rhythmic pieces

The album’s back half loosens up considerably. Dance in D is a two-minute pop piece. Bb Melody goes chillwave for four minutes. Step and Dance runs nearly five and keeps the motion going.

Then four piano pieces in a row that show off very different things: Race at 3:24 is the kinetic one, Bouncing Left Hand at 2:10 is essentially a technique turned into a tune, Melody in C at 3:53 is the plainspoken one, and Joyous at 1:50 is the album’s shortest full-length piece and its most weightless.

Read those four titles together and you get an honest summary of what a solo piano album can do when the composer isn’t worried about being consistent: race, bounce, sing, celebrate.

Closing on resolve

The last three tracks are the reason the sequencing deserves credit.

Working Through It arrives at number twenty — five minutes and four seconds, tagged thematic, dropping straight out of the brightness of “Joyous” into the album’s most effortful mood. Then The Sun Will Rise Again takes eight minutes and forty-two seconds, the longest piece on the entire record, to answer it. And Happy Anniversary closes everything out in forty-nine seconds — the album’s only piano/voice track, and barely longer than a breath.

Struggle, then hope, then celebration. Twenty-two tracks, and the last three tell you what the whole thing was for.

Preview every track on the Piano Reveries tracklist

Reading about music is a poor substitute for hearing it, and the good news is you don’t have to guess. Every one of the twenty-two tracks has a free preview player on the music page, so you can work down the full Piano Reveries tracklist and decide for yourself which stretch is your stretch.

From there you can buy individual tracks for three dollars each or take the complete album — and the album really is the better way in, because the sequencing does so much of the emotional work.

Where to go next

If you want to follow along as new music goes out, subscribe on YouTube. If you want to support the studio directly and see how the work actually gets made, that happens on Patreon.

Players can meet this music in its original habitat: Rebellion is available on Steam, with the Rebellion Soundtrack DLC alongside it. There’s also a smaller free game, The Beginning of Hope, if you want a quick taste of the world.

Pianists who’d rather play these pieces than stream them can find Michael’s scores at Sheet Music Plus and Sheet Music Direct. And if you’re working on a game, a film, or a project that needs music written for it specifically, Michael takes commissions through SoundBetter.

If this resonated, you can listen to and buy Piano Reveries, learn more about the music, or get in touch about a custom score.