"Why don't you do another pretty one?" wonders this imaginary SoundCloud member who I made up for this description opening.  "You know, like 'Anyway' or 'Early Morninng Glow' or 'Take Time'?"

That is a VERY good question--thank you so much for your interest in Interbay and the creative process!  (I think every music producer secretly wants to know that people are interested in what they do.  Of course, I could be wrong--it might just be me who is this needy.)  

I've also been asked (by the same imaginary person) if songs are written and pre-planned or if songs "just come to you."  Well, I know that way back in the before times, every song that I either wrote or co-wrote were written and planned--though, certainly, they weren't perfect from the start and they'd need to worked on, polished, refined, even restructured until it got to something that everybody involved in that band or project was satisfied with it.  (I never really was in any band that just "jammed"...maybe that was my fault?)  

...but, with Interbay--I have avoided working on songs that I've got in my head (I feel like I'm saving them for when I feel stronger as a producer, that I can produce what I'm hearing in my head that those songs should sound like--and that will probably happen around the same time as I start singing on my own tracks.  In other words, "Someday.")  

I don't know if I "just find" songs--I'm still not much for jamming, even with myself.  (At my age?  Could be risky!)  Instead, I think I "discover" the songs that I produce, through the work.  ("Just chip away any parts of the big marble block that aren't part of the Interbay song, and you'll end up with an Interbay song.")  

This track, for instance, I thought sounded like it should be named "Pennsylvania" when I came up with a guitar lick that I felt was worth saving.  And today, it's called "Skywriter"--because I discovered that THAT was what this song was about, as I was putting it all together.  

I'm imagining an indie band, with a folksy female singer/acoustic guitarist, who is fronting a bunch of guys willing to do her songs, but would probably much rather do some heartland rock--Mellencamp-y sort of stuff.  I wanted to give a feel that this wasn't pieced together in a studio, but might have been played live, all together in that studio.  ("In that studio," we all said together.  R.I.P. Jim Abrahams.)  There's a hint of global reverb in there to sell that idea.  

Lots of unexpected (at least for an Interbay track) in this:  pedal steel, a synth that at first sounds like an overdriven saxophone, then a distorted guitar, then a very early analog synth--all in one section of a song.  There's a flute (there's even a flute solo!  Kind of...)  

It is a tasty slice of electronic indie-folk pop with beefy drums.  (So, look for that section of your friendly local record store!  "Excuse me, where is your 'electronic indie-folk-pop-americana with beefy drums' section?"  You know record store employees love questions!)

This might be one of Interbay's best structured rock/pop songs...so enjoy it while you've got it, there's probably some nightmarish industrial dance track that just stays on one three note figure for nine minutes on the way.  (Actually, sounds like a good idea...I might actually discover that someday soon.)  

Do all the things, please!  :)

"Skywriter" *SoundCloud Exclusive*

"It's not a stretch, it's wintry-themed."--Mr. Weebl  (again)  

As you can tell by the thumbnail image (which I took from my backyard back in 2008--have I mentioned that I'm an old?), I'm having a Blue Christmas-Eve...and so, I'm sharing this rather sad bleepy-bloopy slow song about winter loneliness as today's Interbay track.  

The song has nothing to do with Christmas or Christmas Eve, really.  And I can't even claim ownership of the lyrics (though, I can claim the transformative nature of cutting, pasting, and processing the words of others--and hopefully that's enough to keep Icarus alive.  There was an "original" version that was basically a cover of the source material, but as I learned on "Walk"--robots do not like covers.  Again, might be something that ends up on Patreon, if I ever start one.  

I came up with the music first.  I kept it as simple as I could--some pianos, some arpeggiated analog synths, some sort of occasional drums.  It was pristine...like cold winter air.  

...and that inspired my choice of borrowed and Burroughs'd vocals.  

In 2002, between the sample source and my friend Robb's band Dear John Letters' second album, anyone shopping at Orpheum Records in Seattle when I was pulling a floor shift might not have heard anything BUT those things during the busy holiday shopping season.  I was going through some heartbreak, and those albums expressed how I was feeling better than I could ever.  (It was my last Christmas working there--not because I'd driven customers away with my limited selection of in-store music...but because the store closed.)  

My heart healed, I moved on...I met someone, we got married, we had a kid...and four years ago, on the morning of Christmas eve...I had to call 911, as she was in a great deal of pain.  The ambulance came and took her to the hospital (I couldn't go with her due to Covid lockdown protocols)...and the last thing I said to her was a reference to a silly Brian Regan joke.  

...and I never got the chance to talk to her again (though the hospital did let me break protocols to see her, starting on Boxing Day.)  She passed away on the evening of December 29th, 2020.  

And since then, this holiday week has been even tougher for me emotionally than even back in 2002.  But, the source material for the samples in today's song remains as crystal clear as the ice on the roads in that song.  And it felt like a good idea to incorporate it into this crystalline and rather icy music that I'd written.  

Not trying to bring you down--but I've always been someone who has loved Christmas, loved Christmas music, loved the feeling of giving the perfect gifts to people I care about.  And this year, my kid and I have stopped pretending...stopped putting the effort in.  We have a tree up in our living room--the same tree that we put up on Christmas eve in 2020, when we assumed that my wife and their mom would be coming home in a couple of days.  We left the blinking lights on that tree, never taking it down or turning it off, for the past three years until this summer when the lights burnt out.  

We both decided not to bother buying a new set of lights.  I'm pretty sure neither of us are getting any gifts, nor did we send any to anyone.  

"Tonight, let's stay inside."--Blake Schwarzenbach   
(I am SUCH a big fan. Consider this an homage!)

I am one who believes in wallowing, turning your emotions up to eleven and really feeling them, rather than denying their existence.  

And this track, which I still really like (though the original version would be even better), is me doing that on this day, this year.  And maybe it might mean something to you, too.  

(...and, if you could, do all the things:  listen, like, share, repost, comment, playlist and follow.  That would be the best Christmas present I could hope for.

Hopefully, I'll have a proper Christmas treat for you tomorrow.  

"December Endings" *SoundCloud Exclusive*

(It always frightens me to see the occasional song that severely underperforms, compared to all of the other daily posted Interbay tracks--and yesterday's "Look Out For What?" is still, as I type this, in the single digits of plays.  Y'all don't like Stephen A. Smith yelling at you?  ;)  Actually, you'd have had to have listened to the track to know that it includes Stephen A. Smith on it.  If you have the time, could you do me a favor?  After you listen to today's posted track, "Ominous (Our World Will End)", could you give yesterday's track a spin?   Thanks!) 

One of the self-imposed "rules" I have with posting Interbay tracks to SoundCloud is that they must have some sort of vocal element.  One of the criticisms of the Interbay experiments I posted in 2023 and early 2024 on Facebook, was that the songs that I posted that were simply instrumentals were difficult for my Facebook friends to pay attention to...  

Plus, always having to incorporate a vocal element pushes me to giving these tracks more structure. An instrumental can go just about anywhere.  

Today's track was once an instrumental that I intended to be posted on Facebook--but, it was still in the Vault, waiting its turn, when I stopped posting on Facebook and started posting (every day--so far!) here on SoundCloud.  

It was an ominous and moody instrumental--and though I have rescued a few tracks from the Vault, this one had me stumped--as I didn't know how I could incorporate any vocals on to what seemed like a completed piece.    

...but, I have far too many unfinished projects at the moment, and I needed to have a track done for posting today, I decided to give "Ominous" a second look, late last night.  

It needed vocals--and I wanted singing--but the idea of risking Icarus (yet again) didn't appeal to me, and despite owning far too many royalty-free sample packs, none of the vocals I previewed gave me "Ominous" vibes.

I first thought about some horror movie samples--but none of them matched the tone of the track.  (It's not "Spooky Week" after all.)  I also thought about something from underrated Michael Shannon/Jessica Chastain film, "Take Shelter".  It fit the tone, but I couldn't find good Interbay snippets.   

Instead, as I so often do, I turned to vintage sci-fi and found a perfect source for a general narrative and some classicly ominous bits of dialogue.  (If you have anny affinity for vintage sci-fi, you'll probably recognize the source soon enough--I didn't put any filters on it this time.)    

You're basically getting the original instrumental track, remixed...with two bridge parts (and a short section at a different tempo.)  And samples.

This is another Interbay track inspired and influenced by Public Service Broadcasting (a British band that is one of the stronger influences on my work with Interbay.)

...and, I'd say, this track lives up to its name.

Tomorrow, there will be another track posted, as I am posting never-before-heard original Interbay tracks EVERY SINGLE DAY (so far!)  You might want to follow the page so you don't miss out on any of them.

As far as today goes, again, it would--as always--help me out a great deal if you could give this track a listen...and, if you like it, give it a like...a repost...put it on a playlist...share it with a friend...leave a comment, if you have one...  

AND THEN, do the same for yesterday's track, "Look Out For What?" which could use a little love.   

"Ominous (Our World Will End)" *SoundCloud Exclusive*

(If you didn't give yesterday's Interbay track, "Discontinuity", a listen--go and do that now.  It's worthy of your attention--and this song will still be here when you get back.  Thanks! pg)

"Now I dream of you...passing by..."  

This track is the 398th song posted in the Interbay music project since mid-January 2023.  (This is the 258th straight day of posting tracks here on SoundCloud and before that, 140 tracks--with videos--were posted on Facebook.)  And this is the first time that I think I've created something truly distinctly original.  I don't know of anything else that sounds like this.  

Granted, I always say that no matter what I'm trying to sound like, it always sounds like Interbay more than anything else--but when I use the tag "mutant pop" to describe nearly every Interbay song...in THIS case, I can't think of a closer description.  

Go ahead, hit play...and read along as I'll try to catalog the combination of elements that I'm not sure has ever come together like this before.  

You've got singing on this track.  Lots of it.  While all Interbay tracks posted here to SoundCloud, there will be a vocal element--but often, it is in the form of dialogue or spoken word.  Occasionally, there's some singing--but this track is silly with it.  

You've got a female vocal line--very ethereal and dreamy (reminds me a bit of the slept on Interbay track "Selfishly"--go check that one out, it is deep in the back catalog.)  You also have a male vocal line with a more complete narrative, singing about a girl that he seems to both admire and, perhaps, feel intimidated by...at the same time that he doesn't worry about saying something negative about that same girl.  The interplay between the two creates the central tension in the song.  But then there's a bunch of wordless vocal adlibs...soaring into space and surrounding the entwined narrative elements.  

The first instrumental element you'll hear sounds like a synth sound you might have heard from a pop trance song of the late 90s early 00s, but it's actually a piano...the hammers hitting strings without the cabinet resonance.  It sometimes gets buried by other sounds, but it is, I think, always there throughout the song.  Add to that an insistent and occasionally relentless drum pattern-- that can best be described as "rest-kick-kick-kick" (though there actually is a rimshot on the 1, it blends in with the first note from the piano so you might not notice it.)  And don't forget some crazy hi-hats propelling everything forward.  

This track has guitars.  You've got an almost Spanish style guitar playing minor arpeggios, you've got another guitar playing palm muted plucks, and still a third guitar--an acoustic playing rather punk-like down struck chords.  

The bass has a nice bounce that counterplays with the guitars well.  There's some synths, subtle and grainy, a few times in the track...

What else?  Oh...you've got big 80s orchestra hits (what?) and something that sounds like a duck. (WHAT???)  

If this isn't mutant pop, I don't know what is.  (Otherwise, I'd have to come up with a word that means "Electronic indie trance pop 80s 90s spanish rock midtempo house jangle alternative rave up."  I'm pretty good with words, but I'm not THAT good.  

So, if you're up for an adventure into the world of mutant pop, the world of Interbay...then you'll get into "Passing By" in a big way!  

...and, as always, it would help if you listened, liked, reposted, shared, added to a playlist, left a comment, sent a message...but MOST IMPORTANTLY, give this page a follow as new tracks are being posted EVERY SINGLE DAY (258 days straight so far!)  

...this also means there is a DEEP back catalog for you to explore at your convenience.  There's some really good stuff in there that you'd like, I'm sure!

"Passing By" *SoundCloud Exclusive*

Let me try this one more time:  The Interbay track "Listen (Aylala)" has been unfathomably ignored by the algorithm--it deserves more than only 4 listens.  Even if it turns out you don't like the grindy sort of club industrial music that song is...you should hear it to decide for yourself.  Please--go give that track a listen (it is from earlier this week, so it isn't too hard to find) before coming back and giving today's track its own attention.  Thank you!  

OK--on to the SoundCloud Exclusive Interbay track for March 28, 2025...and THIS may be a first.  

As you know, Interbay tracks can sound like anything--it could be electronic dance music, singer-songwriter indie pop, disco, new wave, drum & bass, ska...whatever is the sound that's in my head is going to be where that day's production takes me...BUT, as I've said in these descriptions many times, whatever genre or style I might be aiming at...it all ends up sounding like Interbay (more than anything else, including the intended genre or style.)  

...but THIS one?  I think I nailed it.    

I wanted a 60's style Motown-vibed pop R&B/soul track.  Horns, guitar, a fluid bass, a strong male vocal lead, background singers...and that's what this is!  

I wanted that 60s pop song structure--introduction, chorus, verse, repeat, fade out...and that's what this has!  

It isn't a slave to the retro-vibe, though.  I didn't add any vinyl noise, any dust or scratches.  The claps sound a lot more electronic than they would have been back in the day (though, not enough that I felt justified in adding the "Electronic" tag that most Interbay songs earn--so, if you see me in the next few days begging you to check THIS track out, it's because it might not be recommended to the people that normally get Interbay songs recommended to them...)  

Could this be a modern retro-styled throwback to those days?  I think it could.  Like, I could imagine Bruno Mars doing this song--but in a video where it looks like he and his band are performing on the Ed Sullivan show (or something similar.)  

As those of you who have been paying attention, the motto for this crazy Interbay music project is "Learn by doing, make your mistakes in public"--and THIS might be a sign that lessons are being learned, that I have improved enough to at least hit the target I'm aiming for...for once!  

I hope you give this a listen and embrace the spirit this song has been crafted to be.  Give it a like if you do.  Repost it so others can enjoy it.  Share it so your friends hear it.  Add it to a playlist so you can keep it in rotation.  Leave a comment--especially an encouraging one--so I know I'm on the right path.  And, most importantly, follow this page so you can catch every new track dropped here--as a brand new, never-before-heard, Interbay track is posted here EVERY SINGLE DAY (so far!)  

(And listen to "Listen (Aylala)" too!  Please!  Thank you!)

"Kick Off Your Shoes" *SoundCloud Exclusive*

(So, just to be clear.  Nobody liked yesterday's Interbay SoundCloud Exclusive track, "Jackhammers"?  I thought it was really good--possibly one of my best tracks yet...but I guess I'm alone in that impression.  I'm not trying to change anyone's mind-I'm just surprised.  If you haven't had a chance to listen to "Jackhammers" yet--you might like it, and I encourage you to give it a listen, at least.   And with that out of the way, let's talk about TODAY'S Interbay posted track.)  

I think anyone, around the world, has to be troubled by what's happening in the United States at the moment.  (Of course, I say that full well knowing that enough people here voted for Orange Man Bad to elect him president...twice.  But even those people have to feel a little shame or remorse this time.  Right?  Right???)  

As always, Interbay allows me to indulge in both sharing my own feelings about things AND imagining how other people might feel about things--so, it is hard for me to say that this song is a perfect representation of how I feel about current events.  Hard--because it's not...  I'm not someone who fears that he'll be rounded up and sent overseas with no due process...well, not yet.  (Perhaps this song puts me on a list somewhere?  I don't think it will--it's not incendiary or anything.)  

The story behind the song, as it tends to be with Interbay, is one decision informing the rest of them.  I'd had an unfinished project labeled "Junkyard Disaster" that had some really trashy drums, including some pots and pans, and some industrially harsh sounding synth sounds.  As followers of Interbay know, one of my rules for posting tracks on SoundCloud (which I do EVERY SINGLE DAY, so far--so FOLLOW to see what comes next!) is that every track needs some sort of vocal element...no instrumentals!  

So, I found a couple of royalty free vocal snippets--one of them an authentic African tribal voice call...and the other from a heavily processed future bass pack.  Neither of them did I understand what, if anything was being said.  

...but I heard the word "chokehold" towards the end of the Future Bass vocal sample...and I ran with that.  Roped in Carlos to drop some bars on it and here we are...from junkyard disaster to biting social commentary...all over a cheesy, noisy, retro synth pop with sharp edges sort of tune.  

Some of you first timers might be confused by the jumble of ideas and sounds, but those of you who have been here before...it's just Interbay.  

Please give it (and if you haven't yet, do the same for yesterday's track, "Jackhammers"--a classic piano jack house tune that I think deserves a little more love) a listen...and a like.  Consider reposting, sharing, commenting on, or adding any Interbay track to a playlist.  

...and we'll catch you back here tomorrow for more Interbay!  :)  

(Posted from Phantom Laboratories West's mobile recording system, currently in PDX.)

"Chokehold" *SoundCloud Exclusive*

(I have to say that I'm pleasantly surprised that many of you liked yesterday's track, "One Cat's Bread".  Yay!  I'm surprised, because every other time that I've posted something even remotely jazz-related, it has struggled to get listens--much less likes.  Even my KID said they liked what they heard of that track...though, they didn't feel compelled to listen to the whole track. ;)   Thank you!)  

Today's track is a very much more standard straight ahead electronic dance track.  It's a bit tech house, a bit trance, a bit synthwave...and, adding some vocal snippets from a movie, a television show, and from one of my favorite comedians...it seems quintessentially Interbay.  

Not much to say about this track--though, I do have a funny story about its creation.  I had the title first.  And I wondered what I might possibly have to say about something universal.  Living where I do, the concept of "universal health care" is a regular topic of conversation (shame that it isn't elsewhere in the United States, but the radical left coast can only do so much!)  

So, as I was making the music for this track--I wondered if there was any possible way to express my opinions on universal health care WITH the music.  

...and the answer to that turned out to be...no.  

Not really.  I grabbed a snippet of a friend of mine's comedy--just to use the word "universal" from it (which, if any of my comedy friends were paying attention to my music production, they probably could guess who's been sampled...because who ELSE would it be?)  

...and then I fell back on the more expected use of the term...being space related.  (Though, I thought ever so briefly about making it about the new Epic Universes land opening at Universal Orlando.  I gave up on that idea when I realized that, in order to sell out, I'd have to sell...any.  Haven't done that yet, so the eventual turn towards commercialism in a late capitalist society will have to wait.)  

The space-y samples are fairly identifiable--processed though they are, someone wanting to make Icarus plummet to his death could easily do so.  (Please don't.  Icarus deserves to fly!  And live!)  

I'd put this track on a mixtape.  I'd put this track in a dj mix.  I'd play this song a few times on SoundCloud and I'd give it a like, too!  If I hadn't posted it myself, I might have reposted it.  I might have even shared it with friends, if I had any.  I'd leave a positive comment like "Good going, Interbay!  You're so clever.  And even handsome for your age!".  Might even add it to a playlist (actually I might do that...)  

It would be awesome if YOU did a couple of those things too--in addition to following along with this crazy Interbay music project!  A brand new track is being dropped EVERY SINGLE DAY (so far!) and I hope you'll want to find out what the NEXT one will be like!  :)

"Universal" *SoundCloud Exclusive*

"I didn't know what I didn't know."  

So, here's how I spent my Easter Sunday:  Watching the second night of Wrestlemania 41 and working on this song--a song that sort of came up out of nowhere.  A song of regret, loneliness, and reassessing the nostalgia of what feels like a previous life.  

Is it autobiographical?  In parts, certainly.  I think we ALL leave parts of our reality in whatever creative endeavors we pursue.  Some liberties have been taken (and I think Emily's done a great job with the spoken word sections)--but it certainly feels true.  

...but though it did rain yesterday (WHAT?  In SEATTLE?!?!?), it wasn't the sort of lazily gloomy day that I imagined when writing this track.  And though I am currently living in a house that is too big for just my kid and me (despite our having filled every nook and cranny with "stuff" making it feel like it isn't quite big enough), I wasn't sitting and looking out the window.  I didn't even have any hot chocolate yesterday.  (My kid does like making it for me--but I'm not the biggest fan of hot beverages, so it isn't my "go-to" beverage of choice.)  

"I always seemed to be getting in my own way."  

I think what feels the most true is the regret.  I can look back now and see the mistakes I've made.  I can recognize where I pushed people away, where I took things for granted, where I was so convinced that I was doing my best--that I knew what the right thing to do was--that I knew that I was pristine and wise and undeserving of the consequences for my mistakes.  

This song is a confession of how wrong I was about all of that.  

So the music is certainly melancholy--but it isn't intended to be gloomy.  It is a wistful regret.  An "Aww, man.  I could have done so much better" sort of feeling, instead of a "Oh, woe is me.  Life is over." vibe.  And the music fits the intended mood.  You've got some deep ambient drones, you've got a looping processed guitar.  You've got some cozy lo-fi beats that float in and out, as do various synthlines.  You've got spoken word sections and you have a rather cheeky sung vocal snippet (which was royally convenient) that inspired the tone and theme of this track.  

I'd have to guess that something faster, louder, noisier, (your word here)-ier...will drop tomorrow.  But today, some nostalgia for yesterday vibes.  

Hope you listen, like, repost, share, comment, playlist and follow!  

"Quiet of an Afternoon" *SoundCloud Exclusive*

...I did promise that today's track would likely be faster, louder, and noisier than yesterday's Interbay track turned out.  I'd say it is!  

165bpm noisy glitchy club industrial darkwave about one of the newest boundary pushing scientific pursuits.     

This track has two connections to previous Interbay SoundCloud Exclusive tracks.  Obviously, the title "Xenograft" is quite similar to "Xenoblast", which was posted here two months ago.  One thing I like to do is to come up with a list of interesting words--and when I need assistance in limiting my creative focus in order to sift through the infinite choices this modern world offers us (which is especially necessary for someone as neurodivergent as I am), I can go to that list to see if anything inspires me.  Both xenoblast and xenograft were selected from that list.  What might be interesting for you to learn--"Xenograft" was chosen and started first..."Xenoblast" started later but finished first.  

The other connection this track has to a previous Interbay track is that the original plan for "Xenograft"--the project that started before "Xenoblast"--is NOT what the track "Xenograft" ended up being.  That project turned into "Unthinkable Things" from just a couple of days ago.  (Indeed, the quote "What would you do to save your own life?" comes from the same sampled speech that the vocal samples used in THIS track are taken from.)  

I know that I tried to work in more of the speech and trying to make that track about Xenograftology (is that a word?  It is NOW!) but it felt like I was forcing it and just letting it be "Unthinkable Things" and then keeping the idea of a track about xenografting separate for future use certainly felt right.  (Another thing you might find interesting, "Unthinkable Things" has been finished and waiting in The Vault for awhile now...while "Xenograft" really only started taking shape late last night (I started looking through the cupboard of unfinished projects after WWE Raw on Netflix...and I actually worked on THREE OTHER PROJECTS before re-opening the project for "Xenograft"...and remembering I had to start from scratch (other than having the rest of the speech, that I hadn't used, for "Unthinkable Things.")  

There's a lot of dynamics in the music for this track--a lot of motion, a lot of machinery.  I think that balances the rather dry nature of the speech quite well.  I can tell you that one of the main instruments on this track is a trombone--bet you couldn't have guessed that, as it no longer sounds much like a trombone.  ("Yeah, Interbay!")  

Once again, I'm not sure if this track falls into any particular genre (besides "Mutant Pop" of course--Yeah, Interbay!)  It has elements of so many different things.  (If anything, it reminds me of something I might have made--minus the speech--back in the day for DangerScience, which was, at the time, described as "futuristic pop" in the local newspaper.  (Obviously, the future took a different path...)  

As with most Interbay tracks, it makes far more sense for you to listen for yourself and then you can tell me what it is.  Hopefully, you'll like what you hear--and that you like it enough to like it, repost it, share it, playlist it, comment on it...and follow this page for more (and always different) Interbay stuff, as new tracks are being posted EVERY SINGLE DAY (so far!)

"Xenograft" *SoundCloud Exclusive*

Remember yesterday, when I said that I THOUGHT I knew what I was going to post--only to change my mind and, instead, posted the track I'd just finished?  

...well, I did it again.  

I thought for sure I would post the track I'd intended on posting yesterday today...but I'm keeping it in The Vault a little longer, as "Know a Man Who Does" pushed itself out the door before I could stop it.  

The conceit here is simple:  There is a genre of electronic dance music known as "UK Garage" and I thought, wouldn't it be fun to make a UK Garage song about an auto service and repair garage in the UK?  

Well, I thought it would be fun--and I think this track, the result of that stray thought, is pretty undeniably fun.  

There are tons of choppy edits--both of the beat and the UK car services ads I found to incorporate in the track.  The main beat is skippy and nearly full on electro or full on big beat in parts.  There are multiple basslines, each competing to be felt as the deepest one.  I threw in some trancey-synths, too!  (Because...well, Interbay.  

"Duhh"-B. Eilish

Like yesterday's track, this one seemed to come together quite easily--in comparison with other Interbay tracks in progress that sometimes linger in the Vault waiting that one idea that makes it all make sense and only THEN does the track qualify for being released.  I knew what I needed to do as I did it, and then I done did it.  ;)  

Is this profound?  Will it change the world?  Is this the first sign that Interbay will someday dominate the world of music?  

Don't be silly!  

But, is the track good to listen to, fun to hear, and easy to tap your foot to...and what more could you want on a Thursday?  

As always, please:  Listen! Like! Repost! Share! Playlist! Comment! and, most importantly, Follow!  

(And maybe, just maybe, it will be our Joy Division's time to finally make the Rock and Roll Hall of Fame--by which, I mean, maybe tomorrow the track that was scheduled to post the past two days but got pushed aside each day...will actually get to enjoy its time in the sun.)

"Know a Man Who Does" *SoundCloud Exclusive*

I don't have the skills to pull it off, but in my head...I can see, ASTONISHINGLY CLEARLY, what the video for today's Interbay track would look like.  A single astronaut docks their spaceship to another...and wanders around the empty halls of what is proving to be a derelict ship, and occasionally looks out into the emptiness of space.  The thumbnail image suggests the last shot--which is this lonely astronaut looks balefully at the planet below and the camera pulls back to show the scale of how lonely space travel might be...  

That doesn't HAVE to be the interpretation that YOU get out of "You're Not Around"--certainly, the vocals weren't originally created with anything close to that in mind.  But there are some sound effects that COULD suggest such a narrative (the sound of docking, the hum and throb of engines and generators...etc...)  

This might be my best post-punk/darkwave sort of track yet, at least as part of this Interbay music project.  I get a Siouxsie & The Banshees...but with Kate Bush as the lead singer...vibe from this.  I think I got a few really good sounds--the vaguely Asian sounding guitar chords, the way you can feel the wooden resonance of the bass guitar.  

Proud of this one.  Happy to share it with you.  Hope you like it too!

Give it a listen and a like!  Consider reposting it or sharing it.  Drop a comment on it or add it to a playlist.  And it would awesomme if you followed this page for more Interbay--did you know that a brand new, never-heard-before, track is being dropped EVERY SINGLE DAY (so far!)  

This is the 355th straight day where an Interbay track has posted here on SoundCloud.  That means we're getting ever closer to a full year of daily track drops--which sure sounds impressive, even to me.  

It would be wonderful if you came along for the ride! 

"You're Not Around" *SoundCloud Exclusive*

Did you know that "Bad" by Michael Jackson was written to be a duet with Prince?  Whether or not Prince would have ever actually done it, we'll never know--but, he didn't like the first lyric of the track.  "'Your butt is mine'?" Prince remembered, incredulously.  "Who's gonna sing that?  I'm certainly not going to sing that to you, Michael.  And you're DAMN sure not going to sing that to me."  

I mention this story because I must acknowledge that Prince probably would have turned down the chance to duet with Interbay on today's SoundCloud Exclusive track.  As the first line of this song is "I 'eard you was 'ard."  

(Of course, there are plenty of other reasons why Prince wouldn't duet with Interbay on this track.  I mean, for one thing, His Royal Badness has, of course, passed on.  That would make ANY collaboration (however unlikely) rather impossible.  

The dog you see in the thumbnail is one of the dogs that appeared on long running UK soap opera, "Eastenders", playing the role of Wellard.  (The dog.  Did I need to add that clarification?  It's not like the dog was playing Ian, the cafe owner.  In fact, Wellard BIT Ian the cafe owner--in the story, not the actual dog...and not the actor playing Ian.  Look, there's Google for clarification, this is getting too confusing.)  

The name "Wellard" is, of course, a portmanteau of "well hard"--meaning "very tough, rugged".  UK comedians Hale & Pace made an obsession with being, appearing, and meeting others who were well 'ard, indeed into a running sketch gag.  

Is this song, "Wellard", well 'ard?  Well...I think it is at least quite hard.  Big drums, guitars and some thick nasty synths...and, as you might have guessed, some cheeky snippets.  

A toast then to Zenna, Chancer, and Kyte--the three dogs who played Wellard on Eastenders from 1994 to 2008.  (Ironically, all three dogs were female--and Zenna was briefly subbed out for so she could have a litter of puppies...one of her daughters was Chancer...one of Chancer's daughters was Kyte.  Of course, giving birth to a litter of puppies...well'ard Wellard.  Well'ard indeed.  

(Listen! Like! Repost! Share! Comment! Playlist! Follow!  That would be well'ard of you.)



"Wellard" *SoundCloud Exclusive*

Yesterday, I heard "Gold Rush" by Lucius on SiriusXMU after dropping my kid off at school.  A pleasant indie tune, and I liked the general vibe of it...so, when I got back to Phantom Laboratories West and considered what I wanted to work on...that vibe was where the river was taking me.  

And the result--sounds absolutely nothing like Lucius or "Gold Rush"....because, of course it wouldn't.  Why would it?  Are you new here?  

Everythinng, no matter what I intended to make or what inspired me, ends up sounding, somehow, like...Interbay.  

This is no different.  I aimed my starship towards indie and ended up with...what?  Potato salad?  (It certainly didn't go very far into space, that's for sure.)  

Want some soul horns?  Got 'em.  
Want to hear some blues growling?  Here you go! 
Want to hear some big fat drums with a bit of swing?  Oh yeah, they're in here! 
Want a calm and relaxed bass guitar that doesn't over do itself?  A measured agreement regarding inclusion!    

Somehow, my indie/indie rock vibe ended up with some weird glitchy synth and effected guitar fueled New Orleans blues...with horns?  

Seriously, this is just where this track went and I was helpless to stop it from going there.  

(The title comes from a mistake I made when I was saving the file early in the production of the track--and I give the track a temporary name that sometimes, but doesn't always, influence the track as it is being made...  Well, I had meant to type "Brass"--because I had just written the descending horn lick that you'll hear repeated throughout this track...and I have no idea if my fingers spasmed as I tried to type the second s and somehow managed to hit the h instead?  Or, if my spell check didn't believe that brass is a real world and changed it to brash?  However it happened, I kept the name--because...what ELSE was I going to call it?)

You've got some world music vocals in there, plus some women's vocals that bounce around the room...and then you've got some traditional blues vocals so bluesy that they might have come from an album called "Now, That's What I Call Blues Vocals."  

Strangely, for a bluesy song...the guitars are DEFINITELY on the funk side of things.  

And what's with that skittery mellotron-esque organ stuff?  

Honestly, this might not be an Interbay song at all...this might be evidence of some brain damage.  

And yet...I'm charmed by it!  I like all of the rough edges and the unexpected twists and turns.  It is rock solid--you won't get lost...though you might get bewildered.  (I am.)  

Give it a listen and see if YOU think I'm crazy or crazy like a fox (though, I think what the fox would say is that I'm pretty "out there.")  

Listen, like, share, repost, playlist, comment etcetera.  

THIS track is the 364th SoundCloud Exclusive--and today is the 364th consecutive day that I've posted a never-before-heard song here on this SoundCloud page...so, if you're curious what might be dropped next (every day, so far!) giving this page a FOLLOW! Would be awesome!  

Hmmmm...364 days in a row?  That would make tomorrow...

(Significant for some?)

"Brash" *SoundCloud Exclusive*

Apologies for this being posted slightly later than I intended.  Spent most of the day watching Eurovision 2025 (congrats to Austria!--sorry, spoilers! :( ) and then, when that ended, I had to run my kid all the way across town so they can see Kendrick Lamar, in the Seattle rain, at Lumen Field.  (I was going to join them, but I'm an old man...my stadium hip hop concert days are probably over...)

Your mission, if you choose to accept it...is to have a hilariously good time with this all-too-silly track.  If 80s synth pop could be crossbred with a carnival (not a carnivale--that would sound very different), you might end up with today's Interbay track.  

So, this is an uptempo synth pop dance track--rather minimal actually...only three instruments and some samples.  The bass is running, the drums have some crazy samples in them...you might miss them if you aren't listening for them.  

There are two elements I think you'll be VERY aware of them--whether you are purposefully seeking them out or not.  

First, the lead synth part is where that "carnival" feel comes in.  It isn't a specifically "cheesy" synth sound...but combined with the melody I've crafted for it...il y a beaucoup de frommage!  (...that's the Eurovision influence, suddenly dropping some of my junior high school French on you.)  

Second, are the vocals.  This is one area where my limited amount of time to work on this track (I only started it last night) might have impacted my decisions.  

I named the project "jog" because as I saved it first, I saw a clip of Eurovision non-qualifiers (this year) Ireland and their performance of "Laika Party"...and the video screens behind Emmy had a cartoon version of Laika (the first dog in space) jogging towards the camera.  

I kept the project name, as the song developed into a good track to jog to...and I might have snagged a picture of that jogging Laika, but I couldn't find one.  

I had no vocals...but I thought that having multiple people talking about jogging would work...especially if I combined them, so it sounded like they were all running in a group.  

I came up with some words--simple, repetitive.  I figured it would be the chorus and I'd come up with something else for the verses.  I text to speeched them a few times, to find the right voice for the track...then I copied those downloads and pasted them across the track.  My intent was to hear the voices in the mix, before I chopped anything up or moved things around, and settled on one or two voices.  

...but, when I heard them as they were...I started giggling.  All of these people saying the exact same thing, but at completely different paces...it was funny!

...so, rule of funny, I decided to run with that.  I wouldn't chop up anything.  I wouldn't drop anything.  The only thing I did was adjust the tempo of a couple of the vocals--not to counteract how the speakers said the lines, but JUST to fit into the places in the track I had alotted to them.  (This made a couple of the tracks even funnier!)  

I do realize that I could have spent more time and not played for the lulz and might have ended up with a better song...less cheesy.  And I might pull this back out later this year and give it another go, as a remix or a re-think.  

But, maybe you'll find this version as silly and charming as I do.  

Give a listen to "Jog".  Like! Repost! Share! Comment! Playlist! and Follow, as well.

"Jog" *SoundCloud Exclusive*

A couple of days ago, I attended the monthly meeting for the Seattle Electronic Music Producers Association (SEMPA) for the first time.  The guest presenter for the evening was Jon Lee of Tilted Records.  And he showed us some of his work flow in creating a house track, worthy of club play or party play.  

It was my first time, really, interacting with anyone else in public about music production.  It was important, I thought, to get more involved with meat space--and not just live an isolated life connected to other people only through social media.  

My intention with this track was to see what would happen if I used Jon's workflow.  To see if a different process could lead to different results.  

yeeah...that worked for the first hour or so, and then I Interbayed all over the project.  (Naturally.)  

From the rate at which I produce and post music, you might guess that I work pretty fast and loose--and you'd be right.  I don't spend a lot of time agonizing over the specific snare sound that I need to use in a specific situation.  It can lead to wonderful randomness or complete messes that could be improved with a remix or sound substitution.  

From the word go, Jon had a better and more club worthy kick than I feel I've ever managed.  I don't know what his process was for determining what would work best--other than experience.  (I don't think it is better tools--but it certainly could be knowing more about how to use those tools.)  

For whatever reason, I hear "Jeopardized" and I think the kick or maybe the kick/bass combination, sounds too..."round" (that's the best way I can describe it) than what Jon anchored his demonstration track to...and that dissatisfaction with my own choices may have colored what decisions I made after making those choices.  

I guess you could say that I was in danger of jeopardizing my mission simply by working on it.  

...then I remembered.  This is an Interbay track.  There aren't any expectations, much less any rules.  It will be what it will be.  

Which will be Interbay.  

I did manage to keep my hands (mostly) off the vocal sample--letting it be the only one used and not to stutter edit it or to otherwise overload it with tricks, ear candy, and extreme effects.  (And I bet many of you recognize exactly where Icarus sourced it from...)  

This may be the "purest" I've ever managed to creating tech house.  We're not talking Ivory soap "pure"...but relative to the Interbay back catalog, I think I'm right.  

If yesterday's silliness wasn't to your taste, you might give "Jeopardized" a shot and find something more up your alley.  (...and yes, I do need to drop a post-punk or other rock/guitar-centric track soon.)  

Thanks to Jon, Mindy, and a couple of new friends I made that night.  If I haven't annoyed you too much, you should see and hear from me more often.  

In the meantime, I hope everyone gives this track a listen, a like, a repost, a share, a playlist add, a comment...and that you'll follow this page for more Interbay.

"Jeopardized" *SoundCloud Exclusive*

I was considering saving this for this year's "Spooky Week"--one of the few planned themed posting conceits that I adhere to...right around Halloween, I share some of the darker Interbay tracks that I've come up with.  (There's also a whole playlist dedicated to the darker side of Interbay, including tracks that were shared for last year's Spooky Week.)  

But, other than having "Nightmare" in the title, this track really isn't all that spooky.  (OR IS IT??? DUUUHHH-DUUUUHHH-DUUUUNNNNNNNNN!)  

This track is sruf rock, made electronic by having lots of synth washes and effects messing up one of the simplest forms of rock and roll there is...  But it is enough for me to still claim the "Electronic" tag--justified or not...  

If you recognize the thumbnail (you're probably old, like me), you may also recognize (or think you recognize) the vocal snippets here...  A lot of this dialogue wasn't in the original theatrical cut that I saw in the theater when it came out (again, I said...old)--it was the second R rated movie I ever got to see (after All That Jazz)...and I had written permission from my mom letting me watch the movie on my own...and the usher was my 9th grade algebra teacher!  (So, I couldn't just "sneak" in...)  

I like surf music just fine--I like music of nearly all kinds...well, the good stuff of nearly all kinds...and I've made it a part of this crazy Interbay music project that if I get a crazy idea for a track, I should go ahead and make that track.  

And that's what I did here.  This is one of the tracks that I thought were going to end up on Facebook, with videos made for them, back in 2024.  It has been sitting and collecting dust in the deepest part of the Vault...and maybe because it is an unexpectedly sunny day here in Seattle, I thought it was time to share a little "Nightmare Beach" with you today!  

(...and I do mean "a little"--it is delightfully short, compared to recently posted Interbay tracks...)  

As always, I appreciate those of you who do some or all of the things: 
Listen! Like! Repost! Share! Comment! Playlist! Follow!  

AND, because today's track is relatively short, you should have time to go back a few posts in the back catalog and checkout "Northamerican Stomp"--if you can handle a little Interbay surf music, you might be the perfect person to catch our attempt at blending Western Swing with differrent styles of Jazz and 60s rock...and Lounge...and...well, if you check it out, you'll hear for yourself.  It may not be your cup of tea, but it deserves more than 9 people to give it a listen.  So...feel free to check it, or any of the voluminous back catalog of Interbay tracks posted here to SoundCloud!  Thank you!

"Nightmare Beach" *SoundCloud Exclusive*

(Sometimes the algorithm breaks my heart and it did yesterday.  "Meadows Green" is so mellow and pretty--you should give it a listen, especially if you like any of the most "popular" mellow Interbay tracks like "December Endings" or "Passing By".  I think you'd like it, no matter what the algorithm thinks.)  

Today's track is one of the more straight forward Interbay tracks.  I wanted to make a house track.  And, to even my own surprise, I made a house track.  It doesn't suddenly veer off into post-punk or industrial or electro.  It starts as a house track, it remains a house track throughout, and when it ends--it ends as a house track.  

If you've been following the Interbay music project for any length of time, you'll know how unusual that is...

That's not to say it isn't an IInterbay track.  Oh, it definitely IS, clearly, an Interbay track.  At one point, it sounds like a train is coming right through the track, and then, towards the end, the bassline shows some 80s synth pop influence--that works in a house track, but isn't as traditional of a "house track" element as other parts of this track.  

But, if you're looking for hi-hats that sizzle, claps on the two and four, a four on the floor beat that lets you groove for as long as you want.  I even put in some flutes, if you were a fan of Deep Forest in the nineties and wanted a similar vibe, but at house music tempos.  

I have two concerns with this track.  Perhaps you could guide me towards answers?  

If you look at the waveform for this track, you'll see large sections where the waveform is completely filling the available space.  I pushed this track right up to the clipper/limiter--wanting to get that good hard club "thump"...but I worry this is at the cost of clarity?  Does this track seem overdriven to you...or does it work?  

My second question is similar.  The royalty-free vocal sample I used seems to be particularly difficult to understand.  That quality is in the original sample, it is not simply a matter of whatever effects I did or didn't put on it.  I can pick out a few words here and there (which is why the thumbnail is both colorful and abstract, as one of the phrases I do hear clearly is about "lights flash" so I picked and produced an image that reminded me of being on a dance floor of a club playing house music until the early hours of the morning.  

I can also hear, clearly, "love is so profound"--which...I mean...yeah...  (Couldn't think of what would be a way to represent that idea, visually...so I chose to represent "lights flash."  

I'm not even sure that the title of this track, "Quell," is actually what is being sung.  It could just as easily be "well" or another word that rhymes with that.  

...but I love the word "Quell" more than "well"--so, "Quell" it is.  (And the only things that "Quell" made me think of was The Hunger Games...and that "quell" is something that those in charge do when there is a rebellion or uprising...)  

...and I didn't want to use imagery from either of those ideas, so abstract colored lights it is.  

If you like house music, club music, electronic dance music...I think you'll like this one.  (And this time, having a longer song certainly fits the vibe!)  

Listen! Like! Repost! Share! Comment! Playlist! and Follow!  Please! 
(...and check out yesterday's track, "Meadows Green"--I would appreciate that a great deal!)

"Quell" *SoundCloud Exclusive*

I suppose one can't be surprised when you name a song "Xerothermic Recovery" when only twenty-some people choose to give it a listen.  The track, which dropped yesterday, isn't nearly as pretentious as the title might suggest--and, it isn't even one of the "out there" Interbay tracks...it is pretty solid indie rock with synths.  You might like it if you give it a listen.  Consider doing that after checking out today's track.  

"Who is in?  Who is out?  Who controls the door?"

I don't know if I've mellowed in my old age, but I find it difficult to push myself too hard, sound design wise.  There's always a pop sheen that keeps what I'm doing now from going too dark or too aggressive.  

I cwertainly have both of those things still in me...so I'd resolved to make THIS track the one where I crank up the distortion on the kick drums and produce some seriously dark, hardstyle, industrial, nightmare music.  

...sadly, I didn't quite get there.  I ended up taking the distortion off the kick drums, there's not a lot of industrial in this...but I think what's being revealed today is one of my better EBM-influenced tracks.  

I definitely had Front 242 in mind when making this--though, I will certainly agree that it doesn't sound much like Front 242 at all.  

Front 242 would use the synth patches I did, they wouldn't allow their melodies to stretch up as high as I did, they wouldn't wimp out of going truly dark...as I did.  

The lyrics, I think are pointed and strong...so, of course I drowned them all in effects and put them fairly low in the mix.    

Is it fear or hate that causes people to shun people different to them?  Iin the end, does it matter?  It is still the wrong path to take on a planet filled with different people.  We can't all exist in single culture ethno-states.  We have to find ways to recognize our common humanity, to learn from each other, and to delight in the ways in which we may be different...or how we are alike.  

(You can make that a political statement if you wish.  I was speaking more broadly, but if you want to tie this song's message to current events...I couldn't say you'd be wrong to do so.)  

Ummmm...by accident, did I just create the world's first "woke" EBM track?  

This was fun to put together--while certain parts are simple, there's a lot more going on than you might guess on first listen.  But, if you listen to it at all...you have my gratitude.  (And if you go beyond that and give it a like, or repost it, or share it, or add it to your playlist, or comment on it...I will be beyond my capabilities to thank you.)  

...and, after all that, it seems greedy to ask you to follow.  But I hope you do!  More stuff is always on the way...and lots of stuff discover in the back catalog, too (including yesterday's track, "Xerothermic Recovery.")  

"Us or Them?  Us or Them?  Them IS Us.  Us is going to be Them!"
--a little tip of the cap to Walt Kelly's "Pogo" comic strip right there...

"Xenophobia" *SoundCloud Exclusive*

Today's SoundCloud exclusive Interbay track is one of the softer and somewhat prettier ones...but it certainly didn't start it out to be.  

My first thought for this track is that I wanted to do something experimental, something abstract.  I imagined deep, thick bass notes...twisted and mutilated by effects...and the drums being simple enough just to give the madness of sound I had in my head some focus.  

...and, somehow, I've made a tender, melancholy, and hopeful synthpop ballad out of that.  

I don't know how I do it, either!  (Or why, for that matter. ;) )  

I can walk you through it.  I had started the piece--it was, as I described it...bass heavy, but mangled...with other electronic noises interweaving, all over a very simple beat.  And then I had to give the track a "project name" so I could save it, in progress, so a program crash wouldn't lose everything.  

I wanted something that said "big, but not evil...something big and positive."  

I went with "Zaftig."  It's a Yiddish term that originally meant "juicy" or "delicious", but in the American vernacular, it's been pressed into service to mean a lusciously beautiful woman.  Not rail thin, but round in all the right places.  (Though, I understand that modern women would not consider this as much of a compliment as it once was meant to...  Margaret Cho did an entire comedy bit about how appalled she was to have once been described as zaftig.)  

I was only using it for the play on words--that this track could sound big and still be beautiful.  But, when it came time to coming up with something to add for the vocal--I was reminded of something that Marilyn Monroe once said (no really, this one was actually her)--where she explained that she had lost some weight, but not too much...that her fella at the time, playwright Arthur Miller, liked her with a few extra pounds...a little zaftig.  

Can't blame Arthur for that--but I could blame my GoogleFu, which didn't turn up any actual recording of said quote (I've paraphrased it there, so I don't know precisely what to search for...  

Yadda yadda yadda...I found some synth pop vocals that I thought fit, a few from a girl whose mind isn't entirely set and about a guy who is giving thought to bailing out...  (Beautiful, melancholy, hopeful, etc.)  

I guess my paen to zaftiggity will have to be attempted again.  

As always, I hope you like it.  I hope you listen to it...and do all the other things, too!  :)

"You're Changing My Mind"  *SoundCloud Exclusive*

Just want you to know, before you hit "play" on this latest Interbay track, it is a PUNCH RIGHT IN THE FACE.  Harsh, abrasive, powerful, distorted, nasty...use whatever word you'd like, but this isn't a nice one.  

...that's not to say it isn't a good one.  Just don't be expecting a hug.  

Now, the last time I named a track after a European city whose name starts with a "Z"--it ended up being one of the least listened to tracks in the whole Interbay back catalog.  (Which is NOT Zagreb's fault...just sometimes the algorithm decides "this one should be ignored.)  I really hope that this doesn't repeat for today's track.  

This could be seen as having a connection to the previous SoundCloud exclusive track, "Operative"--both of them are about espionage, one of my favorite topics to construct tracks about.  Way back in 1987, I was asked what I thought the best music should be about and my answer was "Romance & Espionage".  (This was the same discussion where I was asked what a good band name--at least at the time--would be and I said it should be a combination of two words.  Two "action" words, interesting words that come with a lot of interesting associations, but they should be words that aren't automatically linked to each other...like "Danger" and "Science".  Guess what my next band name was called?  And sure enough, DangerScience did a couple of songs that were all about romance and espionage.  ("Krakow" was a hard guitar funk track, and "Kremlina" (dumb name, good song) was recorded for a local scene comp--it even had samples from "Falcon and the Snowman".)  

...so, it shouldn't be surprising that I occasionally return to this topic with Interbay, even nearly four decades later.  (I am SOOOOOO OLD! :( )  

This crunchy cyberpunk spy story could have been a DangerScience track, if we'd had the kind of machines I have access to now...and I probably would have voiced it myself.  

All in all though, if you ever run out of coffee in the morning...play this, you will be awake.  

If you're ever in a bad mood, and you want to get it all out of your system...play this, and you will rage really hard for a few minutes.  

If you like it when Interbay gets all dark and aggressive, play this...you'll like it!  

Actually, if you just want to hear a driving track with some excellent sound design and interesting things happening all the time--give this track a listen.  

Likes, Reposts, Shares, Comments, Playlist Adds, and (especially) Follows, are things that you could do that would help this project out immensely.  New tracks are posted every day (so far!)

"Zurich Contact" *SoundCloud Exclusive*

(OK--another lesson learned.  People don't want to click on thumbnails featuring a cute and curious goose.  Who knew?  Anyway, yesterday's posted track "Emma's Pulse" could use some extra attention--so far, only 16 people have given it a listen.  Is everyone still traumatized by the "Untitled Goose Game"??)  

CONTENT WARNING:  Today's Interbay posted track here on SoundCloud is a techno pop breakbeat rap track that could be heard as encouraging self-harm.  That is NOT the intended message to take away from this track.  If you are struggling and if you could be a danger to yourself or others, you are encouraged to seek help immediately.  Even simply talking to someone can help guide you through tough times.  The language used in this track is meant to be understood as coming from someone who is intensely frustrated with the subject of this track.  You, the listener, are NOT the subject of this track.  This is fiction...dramatic fiction, in music and verse form.  Got it?  Cool.  

Some of you may know, I am a retired professional stand-up comedian...and I can use a clever metaphor to express some dark thoughts in a funny way.

When putting this track together, I knew I'd want at least a breakdown rap section...I just needed a subject to talk about.  

I don't know what made me think of it--but suddenly, I was inspired to write about someone who is frustrated at a friend of theirs who, annoyingly, keeps escaping consequences for his actions/mistakes.  (A variation of the "Jeannie Bueller Effect.")    

...and it all fell into place when I came up with the line "quit cutting yourself down"--which sounds like it is a positive statement...and the comedian still living in my brain (and I can't turn them off) recognized that the statement also works as a negative statement, if seen from a slightly skewed perspective.  

Instead of "Hey, don't be so hard on yourself!  You're all right."--in THIS context, it means "Hey, you deserve the punishment you're receiving...accept it, learn from it...and don't free yourself from that reckoning."  

(Now, perhaps triple ironically, what if I'm the subject AND the voice of the song and I'm directing some self criticism at myself?  What if I'm telling myself that I don't need emotional propping up as much as I have to accept my own role in my current situation.  Whooooaaa--deep!  Get my therapist on the line, we might have some stuff to talk about!)  

So, the metaphor being used here is:  You've done something or made a mistake, big enough to be "sentenced to be hung" (exaggeration for comedic impact) and "you shouldn't cut the rope and free yourself because you should accept your punishment for what you've done.)

It is a harsh metaphor--which is why I've included a content warning with this track.  This isn't a "you should harm yourself" track, this is a "tough love/intervention" track...and, in a very roundabout way, it IS a positive and encouraging message...at the end (in the same way that an intervention for someone with substance abuse issues can be positive and encouraging, in spirit...if exactly opposite of that in execution.)     

Pretty heady topic with some nuance necessary and and an undestanding that this is a dramatic characterization--like a play--all for a synth-fueled breakbeat mutant pop track, that's for sure.  

Is it too dark?  I could rewrite the bars...get Kanno back in here to flow again, just with a different spin.  The comedian in me likes the dark cleverness, but did I go too far?

Listen...let me know what you think.  (And then, check out "Emma's Pulse"--yesterday's posted track...very different, these two tracks--and that's the thing about Interbay.  There's something new being posted every day (so far) and you never know which one of Forrest Gump's chocolates you're gonna get.)

"Quit Cutting Yourself Down" *SoundCloud Exclusive*

Sometimes, my ideas outstrip my skills.  But, how else could I possibly learn?  You've got to give it a try--even your craziest ideas.  

Welcome to "An Allemande (For Cellos and Arcade)", the latest track from Interbay (a bit later than normal, I apologize for that...)  

This track was pulled off a shelf in The Vault, having been originally waiting for a video to be made for it so it could be posted on Facebook--but, since switching to SoundCloud, this track and quite a few others must wait until I make some changes so they meet the restrictions I've placed on the tracks I post here.  (For example, every track must have a vocal element.)  

The original title for this track was going to be "Galaxian Defenders Orchestra"--as the idea was that it would combine arcade sounds with symphonic instruments.  (I did honor that by having the conductor announce the name to the audience before the track "begins.")  

Is this "really" an Allemande?  Not at the moment it isn't.  Probably won't ever be, but it could.  I think.  (Classical music is NOT my strong suit.)  

And let me be clear, there is precious little "classical music" in this piece--to the point where I'm not even using it as a tag for this track.  Yes, there are some strings--there are some choral voices--but, for the most part, this is an electro pop tune (mostly instrumental, but enough vocals so it qualifies for posting here.)  

Now, if you're looking for song structure...this track is a mess.  It holds together only because of some duct tape I used to connect some unconnectable parts together.  There's always something interesting going on, but if you asked me "What does it all mean?"--I'm not sure I'd have an answer for you.  

Who will like this track?  I think anybody who likes it when Interbay gets a bit goofy will really enjoy this.  

(I just changed my mind.  I'm adding the "classical" tag to this track, to completely baffle any classical music fans who might click on this expecting something truly symphonic.)  

This is mutant pop at its finest.  Well, at its most confusing, perhaps.  

Give it a listen.  See if you like it.  I hope you do!  

I'll get tomorrow's track up a bit earlier, I promise!  

(Oh yeah--Like, Repost, Share, Comment, Playlist and most of all Follow!  Thank you!)

"An Allemande (For Cellos and Arcade)" *Soundcloud Exclusive*

This track might not last very long on this platform, but I thought it was important to document the moment.  

Once again, I thought I knew what I was going to post today--this time, I had, already to go, a track called "Be All Right"--126bpm of hopeful synthpop.  But this doesn't seem to be the right time to be all right.  

Knowing that I (thought I) had today's track picked and finished, I kept producing...not with anything in mind--but, as I often do, I look for plugins that I haven't used to see what new sounds they might help me discover and I can follow the inspiration those sounds give me as I follow the direction they take me in.  

And the direction these sounds took me in was dark, cinematic, bombastic.  It was pretty cool, but, I paused to catch up on current events

...which were dark, cinematic and bombastic.  

This track then became a reaction to what is going on in Los Angeles (and soon, all over America.)  

Don't like your music chocolate combined with your political peanut butter--I get it.  Skip this one.  There will be another Interbay track tomorrow and you may like that one more.  

But, if you're astonished to be cursed to be living in "interesting times" and by the complete abandonment of everything that I thought this country stood for...consider this track to be a news aggregator in post-punk bedroom music form.  

Honestly, I didn't even try to hide the sourced news-related snippets...so, it could get caught by the algorithms...but this was the best way to take the song I was working on and use it as a platform for the voices telling me things I can hardly believe--but also things I knew I'd have to expect, but hoped that the systems in place in this country could possibly prevent.  

Nope.  

This is as long of a track as I can post here...but I had enough samples to make two...maybe even three tracks like this.  Didn't get to use the stuff about how reporters were being purposefully aimed at and hit by rubber bullets, didn't even go too deep into the analysis that this is ALL being done to justify further power grabs by the executive...that there seems to be no response that doesn't somehow help that which we should all want to stop.  

And, with the current regime in power, this song will probably be old news by tomorrow and there will be some new outrage demanding our attention.  Actually, probably a dozen new outrages...  

I'm not foolish enough to try to convice those cheering all this on with my Seattle-influenced opinions...but for years I've heard that we can't put ANY limits on firearms in this country because "what happens if we need to protect ourselves from the tyranny of the federal government?"--and those same people are absolutely silent right now as they witness their wet dream scenario happening, caused by "their guy."  

David Bowie once put out a song called "This Is Not America."  Maybe it's better that he died before he realized how wrong he was...  

(Someday, I may rescue the music from this song and put it to a different use...but for now, this is the track I feel like I needed to share today.)

"Rammifications" *SoundCloud Exclusive*

Decided to pull one of the tracks I was saving for this October (spooky week) and drop it here, today...just because it felt like it might help me blow off some steam and let some aggression out.  

(Why I'd need to blow off steam or have aggression to let out, I don't know?  It's a mystery!)  

So, we're going to celebrate the art (not the artist) with this track dedicated to one of H.P. Lovecraft's best known characters--Dr. Herbert West, Reanimator.  

"Is he dead?" 
"Not anymore..."  

So, to get this magic (and very fluorescently bright green) serum, I mixed house beats, dubstep bass, synth pop keys, industrial distorted guitars, and movie trailer samples...and what emerges is "Herbert" by Interbay.  

If you're up for a little June spookiness, or just want to get hyped up, or want to get some anger out of your system--this is the Interbay track for you.  

Not much else to say, really.  

Give this track a listen, a like, a share, a repost, a comment, add it to a playlist...any or all of those would be much appreciated.  

And follow this page--did you know that a never before heard track is being uploaded here EVERY SINGLE DAY (for well over a year and counting!)

"Herbert" *SoundCloud Exclusive*

"There is a lonely electronic brain, dying slowly in the deepest depths of the ocean, and he is confused and scared."  

If you've seen the movie "A.I. Artificial Intelligence," this track might get your eyes a bit misty.  Though repetitive (which, to me, shows some influence of The Orb), the lyrics I came up with for this track suggest a sadness that you wouldn't have thought possible to feel for a machine.  

(The original title for this track was "A Lonely Electronic Brain is Dying Slowly In the Ocean"...but that felt like it was a bit much...  

The arrangement for this track depends on a similar repetitive nature, somewhat it was by happy accident.  The introductory section, where there are no words, wasn't supposed to be this big monolithic instrumental block to start the song.  I had imagined that I was going to break it up into sections, with parts with words fitting in between...but as I heard how the combination of different synths created this evolving miasma of sound, I chose not to break it up.  It doesn't work as proper song structure, but it certainly works from a sound design perspective.  

Of course, that means that all of the parts with words are bunched together (only a tease of the acid break separates the two major sections with words.)  Small price to pay.  

Strange bit of trivia here--all of the synths on this track have names that start with the letter "E".  Why?  I have no idea--maybe because I was lazy, maybe because I was curious, maybe because I'm spoiled for choice.  (This is something I've done a few times now--using only effects that start with M or generators that start with J or only plugins made by one manufacturer.)  

...when you're posting a track every day, it gives you the opportunity to just try some of the weirder ideas that might come to me...  

I hope you give this track a listen.  I hope you like it and you give it a like.  Reposting, sharing, commenting, playlisting and following are all strongly encouraged as well.  

And, as ever, thank you for hopping on the train for part of this crazy Interbay journey!  (Or should I have chosen submarine, to keep with the theme?  Rather hard to "hop" onto a submarine, though...  Hmmmmm...)

"There is a lonely electronic brain, dying slowly in the deepest depths of the ocean, and he is getting the feeling that something, somewhere, has gone very wrong."

"Lonely Electronic Brain" *Soundcloud Exclusive*

This is the 399th SoundCloud Exclusive Interbay track...the 399th consecutive daily posting of never before heard Interbay music.  

"It all seems like a dream..."  

I am prone to getting lost in nostalgia.  I have emptied the well of the comfort that nostalgia once offered me, long ago.  I have become suspicious of my own desire for legacy, for leaving something behind that could be valuable to someone.  

...but, then I think about photo albums.  Once precious and treasured family heirlooms, in a world where there seems to be an infinite amount of storage space for the uncountable number of photographs we each accumulate day after day, and how devalued and impermanent those images now seem...I'm not entirely sure what role photo albums hold in our modern society.  

I don't have many photo albums myself--I think I have two.  The rest of my physically photos are spread between two shoeboxes.  I used to look at them all the time, but less so as those are portals to a very specific and unchanging time.  

My more recent photos are stored in the cloud--ephermera defined.  I don't seem to look at them the way I used to repeatedly peer into the boxes of Kodak prints and Polaroids.  

When my wife died, she left behind a bunch of photo albums...none of them have any photos of me or our kid.  These are all photos from before I knew her...and I only know the stories of a sliver of the photos collected here.  As the last curator of my wife's life, I'm frustrated that I can only properly tell part of her story--and I fear that no one will bother to tell mine, when I'm gone.  

Stranger still, I know that I exist in numerous photo albums of people I no longer know.  Could they have thrown those photo albums out?  Are they ever looked at?  What sort of feelings do those photos dredge up for them...and would my own feelings be different than theirs?  

That's the state of mind that this latest Interbay track was born out of...a distrust of nostalgia blended with the echoes of the lure and comfort of nostalgia, and wanting to know how or even if one is remembered.  

I thought about taking a photograph of one of my own photo albums or one of my late wife's for the thumbnail image, but eventually settled for a generic photo of "a" photo album, rather than anything that too specifically ties this story to me...because I would be surprised if I'm the only one who thinks about this sort of thing.  

I went for an mellow, chillout, triphop vibe for this...with pizzicato violins, deep vibraphones, scoring strings, a flute that sounds more like a saxophone, a trombone that might be out of tune--but that adds a risable tension that I decided to embrace rather than erase.  

There are drums, but this track is not drum-centric.  (There's one partricular set of percussion that I think gives off a reggae vibe--well, reggae as played by The Police, perhaps.)    

I do like this track.  It feels different than what I normally do (but that also seems impossible because I often hop from style to style, genre to genre--often in the same song.)  I could hear this as bumper music for an NPR show (although, NPR show producers need to hurry up and use it for that purpose, as Orange Man Bad seems intent on eliminating most good things about America, NPR being one of them.)  

Give this a listen and let me know what you think.  
Like, repost, share, comment, playlist...all wonderful things you could do to help this ongoing Interbay music project.  

...but following this page might be the best thing you could possibly do, as that would make it easier for you to follow along as these daily track posts continue...

"Yellowed Pages" *SoundCloud Exclusive*

That's right, summer's here and the time is right for...well...for at least one Interbay song about summer!  

And THIS is it!  

A tasty slice of disco-flavored house music with filtered vocal snippets, electric piano chords, slap bass...  

(And?  And what?  And nothing--that's it.  Yeah, usually Interbay songs try to pack a dozen ideas into one track.  THIS time, I wanted to keep it simple.  Well, MOST times I WANT to keep it simple...this time, I think I actually did!)  

Granted, the song does start with radio static--and then, at a vital point of the song, that radio static comes back in.  I was trying to make it feel like you were enjoying a summer's day in the 70s...there's music in the air, there's people in the street, there's all kinds of people--everyday people...and there's you, walking around...tuning in your portable AM radio.  Sometimes, you're listening to this track--sent back in time (because that's something that Phantom Laboratories West has been working on)...but, occasionally, that time traveling radio feed conflicts with the local radio broadcasts of the time...and sometimes these feeds can even blend together...  

(That's our story and we're sticking to it.)  

Are you ready to Cloud 9?  Do you want to?  

Give this latest Interbay track a listen.  Like it, if you do.  Repost it or share it if you REALLY do.  Comment on it, if you have something to say about it.  Add it to a playlist, so you never forget it.  

Most of all--give this page a follow!  Did you know that new tracks get posted here daily (for over 400 days in a row and still counting!)?  If you don't follow this page, you could miss something wonderful, or exciting, or sublime...or, occasionally, a WTF moment...but those can be fun, too!  

Enjoy your summer.  Wear sun screen, stay hydrated, listen to more Interbay!

(...sounds perfect to me!)

"Cloud 9 (I Want To)" *SoundCloud Exclusive*

In the past year, I've put a lot of effort into songcraft and structure--pushing myself to keep things simple, to find hooks and catchy melodies, and to make those work in the verse/chorus/bridge framework of proper songs.  

(Your mileage may of course vary with how successful I've managed to be with that directed effort.  I will say that it continues to be a work in progress.)  

But, I still like stretching beyond those limitations from time to time.  And this is one of those times.  

"Zeus" is a drum-centric collection of sounds that follows a path guided by vibes, filled with washes of synth and the picking of cinematic guitars...all of it the background for the voice worthy of the King of the Gods.  

You're never going to hear this out at the club.  You're never going to hear this on Top 40 radio.  

But...as much as anything, this is definitely Interbay.  How do I express with music and production the idea that I have in my head?  This.  This is how I do that.  

I am preparing to take the Phantom Laboratories West mobile unit across country for a brief vacation--but, vacation or not, I still plan on posting a brand new song every day here on SoundCloud.  (Wish me luck!)  

As such, I've been filling the Vault as best as I can so, if there are days when I can't spend time in the Labs, I still have something new to share.  "Zeus" was a track I finished late last night, just before falling asleep (still with my headphones on and FL Studio replaying the track over and over again--that's not to say that "Zeus" will put you to sleep, unless you can only sleep with the loudest drums I've ever committed to a master and a booming voice telling you about a legendary Olympian God. Or, like me, you get to the point where your body simply says "ENOUGH!" and falls asleep in whatever position, with whatever happening around him.  Then, yeah...this could work.)  

I'm sure there will be club worthy choons and radio pop songs aplenty in the future, but...occasionally, like today, there will just be explorations into things not bound by any particular convention or structure.  

I hope you like it as much as I do!  

(Listen! Like! Repost! Share! Comment! Playlist! and, please, Follow!)

"Zeus" *SoundCloud Exclusive*

Another travel day means another early posting for Interbay--what a nice benefit for you early birds--or those of you not in the Western Hemisphere.  

So, what do we have here?  We've got some pianos, some trance-y synths, some jazz drums, some upright bass, some house drums, and a trumpet.  

...in other words, it's an Interbay song..  

And the vocals come from some street interviews in New York from the 70s.  You've got some answers from homeless teen runaways and you've got some answers from some Wall Street types.  (I think you'll be able to tell who is who.)  

Believe it or not, but I have never been in New York, save for the time that I drove through the city early in the morning on my way from Boston to Virginia foon a cross-continental stand-up comedy tour.  I have set foot in NYC yet.  (My wife loved New York, and I'm sure we would have eventually gone there together...but we didn't manage to in the time we had together.

So, my memories of NYC are mostly based on television.  And the television I saw growing up in the 70s (I mean, I also grew up in half of the sixties and all of the eighties as well) didn't paint the town in the best light.  

I've always been struck by the split between a city that is one half financial capital and the other half a gritty and dangerous place.    (And the fact that it can be both made the city a prime target for having an interbay track written about it.  ;) )  

So, can I interest you in a jazzy in parts, housey in other parts, Interbay track?  Because that's what I'm serving up, hot and fresh!  (Seriously, I JUST finished this track and I'm already posting it--it doesn't get much more fresh than this!)  

Give it a listen and let me know what you think!  Like it, if you do.  Repost it on your page, share it with a friend, add it to a playlist, leave a comment on it...these are all good things (and three cheers for any of you who choose to do good things!)  

Most of all, I'd encourage you to follow this page.  There's always something cooking at Old Joe's Place, after all!

"New York" *SoundCloud Exclusive*

A mellow slice of lush slow house with ethereal hypno house female vocals--perfect for a summer Sunday--is what Interbay is serving up today (which is a travel day--packing up the Phantom Laboratories West mobile unit to move on to another town.  Thank you, Milwaukee for a fun--and productive--few days.)  

This has a late night vibe, but there's a lot more going on in the background than it may at first seem.  To borrow a phrase from Mike Stolkasa, you might not notice...but your brain does.  

That said, I do think that I managed to not smother my little rabbit of an Interbay track today with too much love, too much attention, or simply too much (which would be a typical Interbay thing to do.)  

My favorite part of "Light Inside" is probably the oboe.  As a bedroom music producer focusing on dance music and post-punk music, I rarely get the chance to paint with oboe colors...  (And this should be the proof necessary to quiet all the haters who say that I would  never use an oboe in an Interbbay track.  (Take THAT haters!)

The plucky tones with the oboe give it a "late spring" vibe...but I think it works for summer too!

Let me know if you agree.  Give it a listen, a like, a repost, a share, an add to a playlist...and, most of all, give this page a follow...  There's new Interbay getting posted every single day (so far...for over a year and still going!) and following this page gives you the best opportunity to keep up.  (Did you know that if you tried to listen to every single Interbay SoundCloud exclusive track...you'd have to listen to SEVENTEEN DAYS worth of content?  

...that's too much, isn't it?  And yet, more will be added to that now...and tomorrow...and tomorrow and (etc.)

"Light Inside" *SoundCloud Exclusive*

(So, the internet is a bit spotty where I've set up the Phantom Laboratories West Mobile Recording Unit...so if this upload is incomplete, I'll re-do it until it's all here.  A promise to you, loyal Interbay listener--whoever you may be!)

Was 1991 a good year?  There are certainly good things about it that I remember, but there are some memories which aren't so happy, as well.  

I suppose the biggest memory I have of 1991 was that it was my first international flight.  Because of the recent Gulf War, air travel was temporarily cheaper...and my parents thought it would be a very good idea to treat me to a trip to the UK, to visit my girlfriend, who had been spending a semester at Harlaxton College in Grantham.  

To say that I enjoyed my visit would be both a huge understatement and somewhat ungentlemanly.  I think the fact that I've returned to the UK so many times in the years since is telling.  

I do remember going to a nightclub in London--not a trendy one, but one fairly close to Picadilly Circus, so there were mostly other tourists in there.  And they were blasting rave music, it being 1991 and all.  Now, I knew some rave music thanks to the Hot Mix 5 out of Chicago, thanks to off-the-radio cassette tapes that landed in my hands...and though Eau Claire wasn't quite ready for that yet, I sure was!  I'm more of a club with smoke and cool lights than tramping out into a field type--so, this felt like heaven to me (though, it wasn't Heaven...if you're familiar with the scene at the time.)  

I still remember SO many choons I heard that night--and I'd gone by myself (something I would NEVER do today) as my girlfriend had classes, so I ventured into London on my own.  Nomad's "(I Wanna Give You) Devotion", Xpansions "Move Your Body," and, the inspiration for today's track, Bizarre Inc's "Playing With Knives."  The DJ managed to work that track in four or five times over the course of the night...and it shouldn't surprise anyone that I bought and brought home all three of those 12" singles (thank you to the dj record store in Grantham who not only had all three in stock but didn't refuse to sell it to me when he found that I was also buying a Jivebunny & The Mastermixers 12" and the Grease Medley 12" (as Eau Claire WAS ready for those!)  "Brilliant, brilliant, brilliant, garbage, trash--but it's yer money," I remember the clerk saying to me--and he wasn't wrong.  

(I do also remember that the clerk told me that he could  line me up with some gigs if the stuff I spun was like the first three tracks.  Said I could even get a residency at a club, which could pay me enough to live in the UK.  Don't think I didn't consider it.  Don't think I didn't look into what all I had to do.  Don't think that I didn't ALSO go to the offices of Trent FM in Nottingham, where I was told that UK advertisers LOVE American voices--so, if I DID manage to get myself residing in the UK, I'd have a job there waiting for me.)  

1991.  What a year.  Legendary.  
(...but no, it didn't happen because I couldn't make it work.  Sigh.)  

This track is my tribute to all of that...and more.
Listen! Like! Share! Repost! Comment! Playlist! and, most of all, Follow!  please...



"Nineteen Ninety One (MWRR)" *SoundCloud Exclusive*

Another travel day for the Phantom Laboratories West mobile unit, as we head west--out of Wisconsin and into Minnesota for a few days.  Want to thank Wisconsin for a week's worth of good times and great friends.  

I am awfully fond of Wisconsin, you know.  

Anyway, a dip into the past for an uptempo Italo Disco inspired track with samples from the early 70s (at least for me, they're from the early 70s.  Technically, I guess, this COULD come from '69.  Nice.)  

So, let me introduce you to Roberto Paparella, the little guy in the thumbnail.  Roberto, obviously yellow and chubby, can be a very best pal to anyone, really, but specifically anyone who enjoys time spent in the bath and using a scrub brush to rub your back.  (You can also use this same brush on Roberto--though he does get a little ticklish if you scrub his tummy.)  

Why is this important?  I don't know that it is...except that Roberto is what this song is about!  

Could your day be full of joys if you listen to this latest Interbay track (which is the 420th consecutive day that a brand new Interbay track has been posted--though, that too, has no importance about it...when regarding this particular song.)?  Who's to say?  But, I think so, yes!

Want a fun blast of nrg and nostalgia for a couple of minutes on a Tuesday?  Then, dive right into "Roberto Paparella" and see if a smile doesn't creep across your face in record time!  

In other words--please, give this track a listen, a like, repost it, share it, leave a comment, add it to a playlist...and follow this page for more (and the tracks coming out in the next couple of days will have a decidedly Minnesotan vibe to them.  Or they won't--you DO know that I never really know what song is going to be posted on any given day.  It is dependent on what songs are ready to escape the Labs.  That's part of the fun in following along!)

"Roberto Paparella" *SoundCloud Exclusive*

If you love electronic dance music, this has been a great Interbay summer for you so far, but, if you like the guitar-side of Interbay...well, not so much--so far.  

...perhaps this will make you feel a bit better--as this is such a rock track that I couldn't even justify giving it an "Electronic" genre tag.  (There's an organ and some fx...but even I couldn't claim it fitting into "Electronic".)  That can be a problem, as Interbay tracks that don't have "Electronic" as their tagged main genre tend to end up with fewer listens.  

What I'm serving up today (if you can't pick it out from the thumbnail image,) is a tasty slice of mid-60s British Invasion rock with a psychedelic edge.  You've got some power chords like The Who, you've got a strange almost military march beat, you've got echoes and other effects, and you've got vocals that remind me of The Kinks (and might remind the older Interbay fans of a more specific touchstone that was never quite as big over here in the US as they were back home--but let's not get Icarus in too much trouble, ok?)  

I do want to do more rock tunes--and I want to do more dance tunes that include more rock elements to them...but while electronic dance music production makes sense for a single person to manage on the Phantom Laboratories West mobile unit (still in Minnesota, after all), I've always made rock music with other people (specifically my songwriting partner from back in the day, Crash--who is far better on guitar than I could ever hope to pretend to be.)  

I'm not entirely sure this works--but it is close enough to what was in my head to let you decide if you like it or not.  I sure hope you at least give it a listen--and if you like it, do all the things I normally ask you to do (repost, share, etc.)  

What we have here is something a bit noisy, a bit trippy, and it is veddy veddy British--or, at least as British as this Wisconsin-born Seattle resident can manage.  (So, it might not be all that British, really...but I gave it my best shot!  

There will be one more track posted from this Midwestern Adventure before we bring the Phantom Laboratories West mobile unit back to the Emerald City and put it into storage and get back to our experiments that are being worked on in the Labs, proper.  

Follow along to find out what might be coming next--as there are new Interbay tracks being posted EVERY SINGLE DAY (so far--for over a year and counting.)

"Lazy Afternoon" *SoundCloud Exclusive*

"Outer Space.  The Last Frontier.  These are the trips of the Star Trek Enterprise  Its five year plan calls for us to explore strange new worlds, to seek out new life and new civilizations.  To boldly fly where no man has gone in space.  Live Long and Be Happy."--Patrick Stewart

Well, though there are no samples of dialogue or sound effects or music from it, this track is more of an homage, specifically, to Star Trek: Voyager...as it imagines a scenario where someone on the Lower Decks is trying to explain why they don't recognize anything around them after being knocked off course by a displacement wave.  

Yes, I AM this nerdy.  Did you have any doubt?  

At first, the dialogue was far more specific to the Star Trek lore...but I rewrote it and had it revoiced, because this wasn't meant to be an LCARS report--it was an underling, without much direct contact with the senior bridge crew, talking to people who likely were on a starship merely because it offered the promise of steady work--which is a strange thing to think about in an advanced future society that suffers no scarcity and one where money has no value.  People do the sort of work they want to do, not because otherwise they go hungry or become homeless, but simply because that's what they choose to do with their time.  How do they convince someone to sign on for multiple years of simply mopping floors and cleaning toilets?  (Space toilets, at that?  Who knows how alien species deposit bodily fluids and waste products?)  

It is odd thinking that every Star Fleet vessel probably stinks like a frat boy's bedroom or some people just love to keep places clean...for the fun of it(?)  

Anyway, we have veered WAY off course--which, is the underlying premise of ST:VOY (if you are unfamiliar...well, there are plenty of wikis for more details.)  

This was originally far more minimal and deep than it ended up being--a common thread tying together MANY Interbay tracks.  I think there are some nice layers built up in this that could reward those willing to listen to it critically or who choose to relisten to it, to discover those additional details in the track.  

And yes, I did manage to get some guitars in this track--which was a rather late decision, as I felt it needed a little bit of toughening up (but not so much as to push it towards "rock" of any description.  

And yes, I know that my former songwriting partner and bandmate will complain about the Atari-nature of the drums--but, that is (as it normally is) a specific choice--one that acknowledges the strange fact that what "sounds like the future" to many of us now sounds incredibly dated and old fashioned now that the future is actually here.  And Star Trek, as a whole, is a product of the 60s...so there is an analogue proto-techno history to celebrate with a mixture of new and old music tech in this arrangement.  

Or, it's just a silly song about few peoples' favorite Star Trek series (I admit to being more of a fan of TNG--but I did watch Voyager from episode one for a couple of years...so, it isn't my LEAST favorite, by any means.  

Whether you're a fan of ST:VOY or even of Star Trek at all, you should enjoy this track--knowledge or fandom not necessary to enjoy the synth-based cinematic guitar tech house vibes on this 143bpm track.  And if this turns out NOT to be your particular cup of tea, I'd encourage you to check back tomorrow--as something different will be shared then, as brand new Interbay tracks (in many different genres) are being posted here EVERY SINGLE DAY (so far, for over a year!)  

My only request:  Please Listen and Follow the page.  (Though, Likes, Shares, Reposts, Comments and Playlistings are also heartily encouraged.)  Thanks!



"Quadrants" *SoundCloud Exclusive*

I grew up in Wisconsin at "the right time"--but it still took me a little while before I became fully aware of both the classic house music coming out of Chicago (I did my best to make up for lost time, of course.)  Meanwhile, in nearby Detroit, what was originally a "branch" on the tree of house music was being defined, that would be known as techno (and then, techno would pull itself further and further away from what people defined as "house" music--becoming its own tree.)  

If there is a specific inspiration for today's Interbay track, it is the original intersection of Chicago House and Detroit Techno--and for that, I aimed at Juan Atkins, as Model 500, and the track "No UFOs".  

And, as someone who actually watched Jack Webb's "Project UFO" tv show when it aired, it isn't surprising that my take on this sound might be more hopeful to the whole concept of unidentified flying objects.  

Now, as usual for anything that Interbay is aiming at--the target isn't hit dead center...that is true here, again.  Probably because of the machines used, "No UFOs" feels like it takes more from Electro than "UFO Report" does.  (Certainly, the nature of the vocals is VERY different.)  

...meaning, once again, I scored a direct bullseye in making a track that sounds more like...Interbay...than anything else.  (Which, I'd say, is probably a feature not a bug...and the whole point, really.)    

So, enjoy some very dry Dragnet-style line readings over some retro house vibes with a bit of a techno edge to it--but, in actually, a pretty chill ride.  

As always, I'd love it if you give "UFO Report" a listen.  Like it if you do, share it and/or repost it if you know that others might like it, too.  You could even add it to a playlist, if you feel strongly about it.  Leave a comment, especially if it is constructive or positive (or both!).  

Most of all, I hope you give this crazy Interbay madness a follow.  There are never-before-heard Interbay tracks dropping here on SoundCloud EVERY SINGLE DAY (so far--for over a year's worth of consecutive days!) and the best way to try to surf the wave of content being generated here is to follow the page.  

(Note:  So you're ready for the next Interbay trivia competition--the best way to earn Interbay points, you know!--this is the 100th Interbay SoundCloud Exclusive track to be seven minutes long, or longer (just as the other day we had the 100th Interbay SoundCloud Exclusive track to be five minutes or shorter.)  I mean, we don't need to have a parade or anything--but I thought that was interesting.)

"UFO Report" *SoundCloud Exclusive*

"I wonder if you were dreaming.  If you were, what were you dreaming?"  

There is something so compelling, especially for someone with neurodivergence (like myself), to craft something from bits and bobs...to throw a bunch of ingredients into a stew--ingredients that no one other than you would ever think of blending together...and coming up with something that is both tasty and individual at the same time.  

At the risk of endangering Icarus (more than usual), today's track blends something off of an abbut you may have purchased from the wrecka stow, with some Rolling Rock loving and surprisingly diminuitive post-punkers from the 80s who should have been much bigger (and who I got to interview and hang out with in the VIP section of First Avenue one evening, when we made fun of Gene Loves Jezebel's blouses.)  

Why those two completely unrelated pop cultural connections?  Because both, memorably, were tools for a younger version of me to have attempted to woo the crushworthy off of their feet.  Because both include a similar and distinctive lyric.  Because throwing all of your wet clothes into a dryer and watching the colors spin 'round and round is an apt description of my brain at all times.  

Taking some soulful guitars and glitching them around, adding some dreamy synth pads and some vinyl crackles--not to mention a robot--(whoops, I just mentioned a robot!)--and you get this bizarre but pleasant little slab of pop cheese that might never be anyone's favorite Interbay tracksd, but might be one of the more listenable ones.  

It's pop.  It's indie.  It's...Interbay.    

(...and the thumbnail image is from the very first ever piece of MST3K I ever got to enjoy--thanks to my brother for circulating the tapes so I could become as big of a fan as I remain to this day.  A short film about driver's safety becomes an existential crisis about one robot's worthiness--and it contains so many phrases that made their way into my vocabulary, as well as the vocabulary of people I knew then, people I knew later, and people I know now.  If you haven't watched any MST3K--how did you manage that?--I would strongly recommend starting with the "X Marks The Spot" short...and if you like it, you'll like more.  

Kind of like Interbay.  :)  

For four hundred twenty seven straight days, a brand new and never heard before Interbay track is posted here on SoundCloud.  My plan is to continue to do that as long as I can.  Some will be pop (and mutant pop at that!), some will be post-punk/alt rock, some will be electronic dance music...many will be all sorts of genres and influences all tossed into a blender and turned into an Interbay smoothie.  

Does this sound like something you'd be interested in?  Then follow this page and join the parade!  

Honestly, I'd be happy if you gave today's Interbay track, "X Marks The Spot", a listen.  And a like.  (Perhaps a repost? A share? You could leave a comment or add it to a playlist, too!  All of these things would help.)  And thank you.

"X Marks the Spot" *SoundCloud Exclusive*

"...people go missing...all the time...in the swamp."  

Like "Moloch" and "Herbert", I'd originally intended to hold onto "Swamp" until Spooky Week...but here it is, in the middle of summer.  

(It is tough to have created something and to choose not to share it--even if that's merely a temporary decision to delay.  That's as close to an explanation as I can muster--and it does mean that I'll have to come up with other things for this October's Spooky Week.)  

Back in the way back when, I was a kid who wanted a G.I. Joe.  Now, I'm old enough to have lived when G.I. Joes were "full size"--meaning, they existed on the same scale as Barbies and Kens, etc.--long before they hit by Dr. Shrinker's shrinkray to become the size you might be more familiar with...  

Santa came through for me one year--although, I'd been helpful in circling what I wanted in that year's Sears or Montgomery Wards' Christmas catalog.  The G.I. Joe that I got had strawberry blond hair--and a full beard.  His story was that his plane was shot down over a jungle country, so my Joe came "only" with a bright orange jump suit (evidently the beard indicated how long he'd been abandoned in the swamp.  He had a life raft, a single gun...and nothing else.  

...well, perhaps...shame?  

Yeah, I somehow managed to come up with a specific G.I. Joe that wasn't so much a hero as he was a G.I. Joe needing rescue.  

I know all this because my G.I. Joe came with a comic book, detailing his plane being hit and his parachuting into the dark jungle...and that comic book came with a recording of the story that came on a flexi-disc (I think...)  That recording included sound effects, some dramatic music and a really spooky vibe.  

That is what the major inspiration for THIS Interbay track is--although, the G.I. Joe story was far more pulpy than this track turned into (once again--I often aim at targets...miss them, but land a bullseye on sounding like...Interbay.)  

The narrative that I imagine is a police procedural tv show--or maybe even an episode of The X-Files...where a local warns the two officers/detectives/agents not to pursue their suspect into the swamps of Louisiana...because they likely won't return.  

(If there was ever a "Law & Order: Bayou Swamp" show, I could see this scene being part of it--only with more quippiness in response to the tales this witness is sharing.)  

This is NOT a pop song.  There is no structure to be found.  No verses, no chorus, no bridges, no rhyme scheme.

It is just a vibe.  A soundscape with words.  A scene.  

"...a dirge for the lost," if you will.

I used to do this sort of thing more often in the earliest days of Interbay (when I was posting music videos for my productions over on Facebook, well before I started posting here on SoundCloud (and, obviously, before I settled on the rules for tracks I'd be willing to post here.)  

(Spoiler alert--there will be increased emphasis on the music made in the "Facebook-era" of Interbay...but that's a story for a different time, yet to come.)  

So, consider this a palette cleanser day.  A day to get lost in the swamp--from the safety of wherever you listen to tracks you've discovered here on SoundCloud.  

Listen. Like. Repost. Share. Comment. Playlist.  Follow.  
(...more tomorrow!)

"Swamp" *SoundCloud Exclusive*

(In case you're wondering what happened with YESTERDAY's Interbay track--because, as you might know, I've been posting a never before heard track EVERY SINGLE DAY for over a year now--it was posted and is available for you to listen to.  It is called "Swamp" and while I think it is a soundscape of mood, dread, intrigue and storytelling...the SoundCloud bots don't think it is a song, and because of that, they're not going to share it with anyone.  So, only two of you have listened to it.  A shame, but today is a new day and thus there is a new song.  BUT, if you have the time and want to see if you agree with me or the SoundCloud bots...I'd encourage you to take a listen to "Swamp" from my page or my library.  Thanks!)  

I like variety.  I like doing different things, flexing different muscles, expressing myself in different ways.  Today's Interbay SoundCloud exclusive track is a good example of that.  

So, typically, Interbay tracks are either electronic dance songs (in various genres) or post-punk (in various subgenres) or a combination of both.  I like uptempo things that challenge my ears and I like things that would have made the younger me move (and make me feel the crushing weight of the finite nature of time bearing down on the current me.)  

...but that's not ALL I can do.  "Anybody Else" started off as a piano ballad--until I chopped up the piano.  I found a certain sweetness in an ancient drum machine sound and I used it, despite having far better and more modern options--both electronic and traditional sounds.  Similarly, the bassline--while prominent--could hardly be any simpler than it is...as is the chimey acoustic guitar chords.  Add in a jazz saxophone run through some filters and an 80s style synth pad deep into the background...throw some shimmery crystal sounds as a cherry on top...and the pie that comes out of the oven is "Anybody Else" by Interbay--the track that you're reading about right now.  

The showcase of five Interbay songs on this profile shows the five most listened to songs I've posted here on SoundCloud--and they're all way poppier than most of the stuff I make, and many of them are slower than most of the stuff I make.  So, it is obvious that there are people wanting to hear this sort of thing--but, perhaps, those of you who are regular followers of Interbay (and, like Lucas Lee once said, "Why wouldn't you be?"--so go ahead and give this page a follow!) aren't as enamored of the times that I slow the pace down and serve up something more easily digestible.  I get it.  I can only promise you that I will soon be back to the hammer to the head pounding kicks and the abrasive synths or guitar power chords or whatever you associate with Interbay.  

...but, clearly, this sort of emotional and arguably pretty track is certainly part of the Interbay milleu as well.  The crossroads between electronics and natural instruments is a well-trodden path for Interbay...and I think this exercise in simplicity (indeed--it might be the simplest Interbay track ever...even if it doesn't seem so on your first listen) is certainly on that same path.  

I don't know.  I like it.  I find it moody and evocative and I managed not to Pollock every single millimeter of white space here--giving it room to breathe, for a change.  But what matters more is what YOU think of it--which you can only determine by giving it a listen.  

Like if you do, repost, share, comment upon, add to a playlist...these are also good things and are always appreciated.  (And don't forget to follow this page!)

"Anybody Else" *SoundCloud Exclusive*

Can you guess what happened to me while producing Interbay tracks last night?

I'm still dealing with the fallout from something rather terrifying (especially for an idiot like myself that doesn't do back-ups as often as he should)...but it was amusing that I was already working on a glitchy post-punk new wave synth pop track.  There are times when it definitely sounds like my hard drive has broken in the worst possible ways--and this is BEFORE I added some dying hard disk sound effects.  

Hopefully, you can be amused at my drama and not traumatized with the thought that it could happen to you.    

This is another track where I tried to use some tools that I don't often reach for--and the results, at least for me, are always interesting when I try to find ways to make everything work.  

This isn't the most aggro track in the Interbay catalog, nor the most modern.  But, what it does have is something important to me:  the truth.  (Or, at least, a version of the truth that is exaggerated for the sake of entertainment.  As far as I know, I haven't actually lost anything...(but cross your fingers!)  

I hope you listen to "Fatal Disk Error." 
I hope you like it--and if you do, I'd ask you to give it a Like.  
If you really like it, or if you know people who would like it, giving this a repost or a share would be awesome. 
If you've got thoughts about it, feel free to leave a comment.
If you want to put it onto a playlist of yours, go right ahead.
And finally, there are new Interbay tracks dropping EVERY SINGLE DAY (for over a year, so far!) and if you don't want to fall hopelessly behind, you should follow this page...so you can see whatever is coming next!

"Fatal Disk Error" *SoundCloud Exclusive*

"Let me usher you inside..."  

Have you ever seen the movie "The Hunger"?   The 1983 directorial debut for Tony Scott, it is a modern day vampire tale starring Catherine Deneuve, Susan Sarandon, and David Bowie.  

In the opening scene, at a spacious new wave club where Bauhaus plays "Bela Lugosi's Dead" (many of people's first time hearing the band, hearing the song, learning that there is something known as "goth culture"), David and Catherine scope out and pick out younger people dancing--because they need to feed (not that their victims know this.)  It is very alluring, very sexual, and very dark.  

It certainly fueled my life long crush on Ann Magnuson, who plays David Bowie's victim.  

That combination of vampire-related psycho-sexual drama--the power games, the implied threats, the surrendering, the intimacy...no wonder Anne Rice got all hot and bothered with her own vampires.  (I mean, it's there in the original...and nearly all of the movies based on the vampire legend, certainly in Francis Ford Coppola's "Bram Stoker's Dracula".)  

But, being a sensitive modern male...let me reassure of you a few things when it comes to this latest Interbay track, inspired by all of that--but then putting my own drum & bass spin on it all.  

--The use of the terms "Kindergoth" and "Baby Bat" are references to specific goth fashion archetypes and/or to people relatively new to the goth scene.  It does NOT mean children.  (In my mind, "Kindergoth" takes place at a goth club--everybody involved is at least 21. ;) )  

--There is a power imbalance assumed here, between our narrator (who may or may not be an actual vampire) and a less experienced subject.  I imagine this as a roleplaying fantasy, with each of them consenting to play it out.  There is power in surrendering, there is a fascination with being "taken"...and, as long as there was enthusiastic consent from all parties for this scenario playing out, there's nothing wrong with exploring these "dangerous fantasies" (or "wonderous nightmares" if you will.)  

This is theater.  (And certainly fiction.)  

Do I have the goth credibility to pull something like this off?  Probably not.  Although I've loved Bauhaus, Joy Division, and The Cure, often seen as the wellspring from which a more regimented "goth" culture flowed, I was always more of a post-punk than a goth.  (For one thing, I was only briefly skinny enough to pull off a proper goth look.  The closest I ever got was back combing and Sebastian Sphritz Forte-ing my hair into a proper Robert Smith volume (though it was usually more blonde than any respecting goth would have ever allowed.)  

Certainly, the bands that I've been in have enjoyed playing with some of the darker elements of music--there's definitely a goth influence...but, there's also that sense of theater.  When it came to the bands on, say, compilations from London's The Bat Cave...i loved the cartoonish and glam metal nature of Specimen rather than some of the dirgier outfits.    

This is a swimming pool that I continue to dip my toe into, but, as with all things, the end result ends up sounding more like Interbay than anything more specific.  (Not having access to a Peter Murphy-esque vocal has something to do with the Interbay-ness of what I do.)  

Does this blending of the electronic dance music of the past twenty years mix well with the sounds associated with the goth rock/post-punk from 40 years ago?  That's up to you to decide.  (I think so--but, as always, I am biased.)  

Give this monstrosity a listen.  Is it actually the "goth drum & bass" I'm selling it as?  

All I can ask is that you listen.  Give it a like, if you do.  Repost it, share it, comment up on it, add it to a playlist--all appreciated.  Most of all, follow for more Interbay.  A new track is added every single day (so far!) and if this isn't your cup of tea, maybe tomorrow's will be.  

"I'd give you my heart, if I had one to give.  Wjy spend a lifetime dying when you can live?"

"Kindergoth" *SoundCloud Exclusive*

Sometimes, I have an idea and I do my best to turn that idea into an Interbay track.  

Other times, I make an Interbay track and I'm surprised to find something about it that I didn't intend on putting in there, but it hits me after I listen back to it.  

This is one of the other times.  

This whole track was built around a great royalty free vocal sample.  I don't remember how I stumbled over this particular sample...I wasn't looking specifically for any particular theme, much less "falling in and out" as an idea I wanted to write about.  I thought the vocal sample was interesting and I chose to follow the direction it pointed me towards.  

That direction had me adding many layers of harmony to that vocal, it guided me to a bell synth lead line and a thick fretless bass tone.  In fleshing out the single vocal line I had, I found another sample that has more of a gritty soul vibe and a third sample that has an afrobeat feel.  Then, I played around with different drum sounds...and completely lost my mind for a middle sixteen, adding in many different layers and effects on nearly everything.  

I fussed with it for awhile before last night when I think I'd dialed it all in.  

After deciding that this track would be the track I would post today, I started thinking about what I'm doing right now--sharing some information about this track in the description section here on SoundCloud.  

That's when it struck me.  I'm not certain that I've ever fallen out of love.  

I'd wanted to share a personal anecdote that might, despite the random nature of the vocal sample discovery, indicate my own connection to the theme.  So, I was startled by realizing that while I've had people fall in and out of love with me...I don't think I've ever fallen out of love with anyone.  

Certainly, I've had relationships end and sometimes I've realized that relationships would have to end...but I'm struggling to come up with a time where I've loved someone and then stopped loving them.  I still love the people I've been lucky enough to be in relationships with, even the ones who broke my heart.  Hell, I still crush on the people I've crushed on.  

Makes me wonder, if I've never fallen out of love with anyone...have I truly fallen in love?  (Again, I'm not denying the love I feel for people...but have I "fallen" in love?)  

To quote Lady Minerva Munday (Helena Bonham Carter's character in the movie "Getting It Right"), "How strange not to know."

There are times where I wonder if my idea of myself as an idealistic romantic might be more aspirational than accurate.  Again, how strange not to know.  

This is one of the poppiest Interbay tracks ever--a bit of folk mixed with synth pop.  I like it.  I hope you do to.  All I can ask is that you give it a listen...and give it a like if you do.  (You can do all the other things too, of course--especially follow this page for even more Interbay.)

"Falling In and Out" *SoundCloud Exclusive*

There are times when I think that I look forward to reading these descriptions (that I write) so I can understand what it is I just made and why I made it.  

Somehow, I seem to have the power to baffle myself.

For example, today's Interbay track, "Can't Escape It", started off as a simple repetitive riff that fell somewhere between dark afrohouse and a housier version of phonk (maybe?)  And somehow that simple riff turned into this synth pop industrial tech house radio track?  (How did this happen?  No, seriously, i want to know.)  

Where did the "(I Just Died) In Your Arms" by Cutting Crew" style keyboard chords come from?  Why did I think that was the missing element in a track that sounded nothing like that?  How about the oddly dissonant bass sweeps or the comet trail synth fx or the nasty distorted factory sounds?  

...and for all of these rather disparate and unexplainable ingredients, the end product is surprisingly sweet and tasty--if yesterday's track, "Falling In and Out" was one of the more pop-focused Interbay tracks ever, "Can't Escape It" sure feels like another one.  (Am I learning? Am I gaining skills?  Will tomorrow's track be nearly unlistenable?  ;) )  

Now, you may be wondering about the thumbnail image (me too!)  The vocal samples each came from different royalty free sample packs and didn't have anything to do with each other--one being pop, the other having an afrobeat feel to it...but, and I didn't notice this until I started thinking about what a good thumbnail image might be--as much as I'd LOVE to claim this was all by design, it is just one of a billion happy accidents that Interbay has been blessed with--the lyrics could be interpreted as being a retelling of (at least one of the versions of) the movie Blade Runner.  

I'm sure these aren't the actual lyrics being sung, but if you squint your ears, you can convince yourself that you're hearing "Want more life, want more time"--which sure sounds like what Roy Batty came to earth to ask Dr. Tyrell for...  And then, the main hook (the poppy vocal), it feels like Roy accepting his fate--that when they're all alone, they can't escape it.  

Again, I'd love to take credit for this as having been planned--but, I must admit that it wasn't.  

Anything else?  Well, be warned--some of the bass in this track goes very low, indeed.  (In my head, I sounded just like Michael Caine just then.)  I produce in headphones so I don't know for sure, but if you play this through speakers...keep an eye on your woofers and subwoofers to make sure you're not damaging anything.  (Or just turn the damn music down--though, I know you won't...and neither will I.  ;)  I'm sorry, what???)  

All the usual requests:  Please listen!  Give this a like, a repost, a share, a comment, an add to a playlist...and follow this page for even more Interbay, a daily shot of unexpected, unexplainable, and sublime accidental brilliance shared just for you!

"Can't Escape It" *SoundCloud Exclusive*

"Yo!  Ding Dongs, man.  Ding Dongs!  Ding Dongs, yo!"  

Sometimes, an idea hits you that is so impossibly silly that you HAVE to pursue it.  (The fact that it ended up being a fun electro/electro house track is quite rewarding and certainly justifies that decision.  At least I think so, if you're reading this, you may just be hearing this now...and while I hope you agree with me, you'll make your own appraisal of it, I'm sure.)    

I was trying to think of a fun word that starts with the letter "Y", as I would use that as a starting point for a new Interbay track.  (One of the things I've learned while posting a new track every single day for over a year is that it is nice to have a few paths available to you to focus yourself towards a particular direction.  The paradox of choice, and the paralysis that can come when you "could" do anything, is real...and giving yourself hurdles to hop over or barriers to channel your creative thoughts can be effective strategies to overcome it.   

And, when I came across the word "yeoman"--I heard it, in my head as "Yo! Man."  

I giggled.  

And then I got to work.  

There are snippets in this track you might recognize.  There are probably a couple that you won't.  That's ok.  Just know there's nothing specific you need to know to enjoy this track.  (And if you recognize where the snippets are from, hopefully that will make you smile as much as they do for me.)

You might even learn something (if only about the meaning of the word yeoman, I suppose.)    

Music-wise, this fits in that uncanny valley between synth pop and electro, and then it shifts into electro house for a bit.  If you're a regular Interbay listener, this should feel like familiar territory.  (Hopefully, of course, you'll like it.)  It's got a good beat (or two) and I hope you find it easy to dance to!  

As always, all I can ask is that you give "Yeoman" a listen and a like--and follow this page for more!  

(Reposts, shares, comments, and playlist adds are also quite welcome!)

"Yeoman" *SoundCloud Exclusive*

Maslow's may have defined and ranked our hierarchy of needs, but in "Felony," the latest posted track from mutant pop purveyors Interbay, what happens when your wants and your needs are both ill-defined and all encompassing?  

No wonder our vocalist has the blues!  He wants!  He needs!  OWWWWWWWWWWW!!!  

Take a big beefy breakbeat.  Add in some human beatboxing and wubby bass.  Throw some bassy synth pads into the mix at well.  Then, top all of that off with an assortment of blues guitars and some seriously overdriven blues vocals--that, my friends is a crime.  

Not just a misdemeanor either.  This...is a "Felony."  

(The title might not seem intuitive.  I think I was going for a "what can a limitless desire lead to?" connection between our vocalists wants and needs and their obvious pain that they can't satisfy any of them.)  

Like Moby, Primitive Radio Gods, and Fatboy Slim--I knew there could be good stuff mined from the intersection of electronic dance music, breaks, and gospel/blues.  I think the Interbay take on the crossing of these streams is, perhaps, a bit more aggressive than the others mentioned.  

Still works, though.  

At least I think so.  Your mileage may vary, and the only way to find out what your mileage, in regards to "Felony," might be...is to listen to it.  

I would also appreciate it if you gave this track a like, repost it, share it, leave a comment on it, add it to a playlist--that sort of thing definitely helps spread the word about Interbay beyond its current fragile parameters.  Thank you, in advance, for your assistance.  

What could help more than anything, though, would be for you to follow this page for more Interbay track drops.  Did you know that for over a year now, a never-before-heard Interbay track has been posted here every single day (so far!)?  It's true--and you can dive into the back catalog anytime you find yourself wanting proof...it's all there to find.  

I'm thinking that there should be some more guitar stuff headed your way--maybe some electropunk...maybe even some straight up punk rock?  (I mean, if it is good enough for Superman...and Lois...it should be good for you, me, and Interbay, too!)  

For now, though, enjoy this "Felony" from Interbay.

"Felony" *SoundCloud Exclusive*

Post-punk, dance, indie, electronic, and mutant pop in various styles (seriously!)--new tracks being posted daily (every day for over a year, so far!)

Interbay is the new project of Peter Greyy (previously of Cremation Dance and DangerScience), based out of Seattle and Phantom Laboratories West.

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