If the intimacy of Spain's "Every time I try" was a lament to future perfect helplessness then this is perhaps the self-loathing in between.  A song of change and the lack thereof in more words that were probably needed.  If the honorable Fred Durst had his way with thrift of prose, he'd probably just want to 'sniff on them panties.  But she'd eat you alive, of course.

Haywire Lycanthropy

Mournful throbs give way to agression in this call and response dubstep/jungle excursion.  Inspired equally by Sophie Koh and Shadow's infamous bass-heavy Miami set.

A Little Less Jennifer Paige

From the Art Alexis school of songwriting because summer is here, kids.

Fairweather Enemy

In 2009 I became a dad.  The months before her arrival were an exciting time and announcing it was something that I enjoyed.  A month with my MP3 collection and Cubase.  As Scarlett celebrates her sixth birthday I realise that I still haven't played her any 1927 or Deadstar.  



Hooray

Happy Birthday Mum (ft. Scarlett & Zoe)

Recorded at Kinesound, South Melbourne at the end of 2002.  Dean Rizetti on guitar and half a guitar solo, Brett Hudson on bass, me on the drums and voice, Kate Duncan on harmonies.

Yuri on the tambourine because I kept fucking it up.


Baby Beluga

In the days after the sudden death of a family member in early December 2011, I began writing this. The words came as they had never come before.  By January it had been recorded but I left it months, uncertain what to do.  I couldn't bring myself to finish it, for finishing would mean that I would need to begin to grieve.  Eventually, mid year, I began the task of mixing.  It was during this process that I realised how many little influences had worked their way into the song.  It wasn't until the song was almost ready that I realised the gravity of these influences and how they had affected the production choices.  The heart-beat kick underscores the song, the fret noise from the bass scratches impatiently through the verses.  A Karma Police-esque feedback loop turns piano hit into a wall of sound and distorted Fuel style vocals plead as much as they affirm the unavoidable - that it was a goodbye.  It is perhaps a (small) testament to the music that this person shared with me and inspired during her better days. This final mix was completed on the anniversary of her death, December 3rd, 2012.   

Just So You Know

For me, this feels like a cross between a country song, something by Icehouse and those cheesy over compressed pop songs from 2000.  Overall, I'm pretty happy about that.  It is how I imagined it.  I really did want the chorus loop (Jasmine Rogers' gorgeous voice)  to be cut and scratched but could not afford anyone to do it.  The mellotron strings at the end add so much depth to the final chorus even though they were left dry.  This song is nothing without the sample.   Picture is Chermside police station, next to the mall from which my pens got stolen.  Love to Boa and DJ Shadow for the mutual slump.

Two Reasons (Watching You)

Recorded in my bedroom, drums wedged into a corner.  One crappy dynamic mic overhead.  Guitar DI'd and I couldn't find a bass, so there's no bass.  

Another song

I had been listening to Depeche Mode's "Exciter" a lot.  The sheer simplicity of the tracks, they almost seemed unburdened by crap - everything necessary, everything up front.  For electronica, that's a tough thing to do.  The only other band that really achieves this is Pomegranate.  This was my attempt at simple.  This song was done in a couple of days, same crap dynamic mic as "Another song".  A couple of the pre-chorus frills recall one of those Exciter moments.   Same awesome guitar playing.  It is unburdened by bass.  Final chorus courtesy of the Luke Hannigan school of HEEEYYYYAAAAAAAOHHHHH.  Indeed.

Come Down

I have tried returning to this song with little success.  It was done in a night and it is what it is.  Some things are like that.  Don't poke them when they're dead.   I had watched Vincenzo Natali's wonderful film "Cube" and I was feeling that vibe.  There was something so wonderfully industrial and heartbreaking at the same time - lost and lost on top of that.  

Your Name Still Makes Me Cry

One take piano, one take vocals.  It shows.  A one night job.  Dynamic mic.  Sorry.

Grounded

Another one take wonder.  Selfishly, I want you...here with me.

Casino

A graphic designer from New-York turned my music world upside down with a baptism by fire into the world of electronica.  I am still underwater, grateful and doused in petrol.

Evening Comes

Everyone needs an angry song right? Sure the lyrics are pretty lame. I was mad and nothing offered the semi-instant gratification of putting it down onto hard disk. This like a cross between Garbage's "Not My Idea Of A Good Time" and Cause & Effect's "World is ours." But sucky.

Afterthought

The very first song I ever did.  Really.  Live drums, one mic.  Strings/synth have that Angelo Badalamenti feel.  Garbage-esque drum loop.

Reason

"Home" was done shortly after "Reason" and I could never figure out why it sounded so horrible. Oh the noise.  The fucking noise.  Same pre, same crappy soundcard and the vocal track sounds like it done in a tunnel.  Probably because I can't actually sing anyway.  But at its heart, this song, taken from a notebook I took with me to Los Angeles is probably the most personal.  "Come Down" and "Happy Thoughts" were taken from the same book.   Authentic answering machine at the end too because I had no idea how to do the same thing in cubase with effects.  

Home

Live at the TOTE in Collingwood, eons ago.  Dodgy soundboard recording that cuts in and out.


Matthew Fanclub -  Hermit (Live)

A lamentation, a goodbye, recorded at Kinesound long ago after an dishonest day's work.  I believe it was a Saturday, after two.  No pop-shield, so plosives abound.  Restaurant quality, I was told.  I disagree,  the microwave is best for broken hearts but does little to impress those with hardwood floors.

Best Wishes

No drums, the kit had been sold to a nice boy with a sense of humor  and his Asian girlfriend. 
I'd been wanting to play a chorused guitar since I was listening to Nirvana in high school.  I doubt I'll ever do it again.  

Katie Holmes

Texas was a strange place.  I felt, at times, agoraphobic. I remember being in a car going somewhere and the radio was on.  It oozed fake and it grated.   Along with the Kelly Clarkson handbills posted everywhere, it added to this sense of unease.   I jotted down some thoughts and years later they became this little outta tune sketch.  No drums, or bass, though I was doing the Sleater Kinney thing sans octave pedal in the hope that no one would notice. 

Twenty Four

Specific

Raised on a diet of Genesis, Tori Amos and whatever crap was the on the radio, Adam's influences show up in pretty much all of it. From power-pop to faux drum&bass, piano-led tracks to ambient, you'll probably find it in there somewhere.


kitesonthepowerlines

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