These are Interbay tracks that, for various reasons, have not yet been listened to by at least 100 people.  Some of them are some of the first Interbay tracks on SoundCloud, others are in genres that aren't well represented by listeners here on SoundCloud, and some just got ignored by the algorithm.  

If a track on this list gets at least 100 listens, it will be taken off this playlist...and it would be my hope that someday this playlist will be empty--because all of these misfit toys deserve to end up under someone's Christmas tree.

(As I type this, there are a couple of songs that haven't been listened to by anyone.  I feel bad for them.  Maybe you could give  some of these tracks a listen?)

The Undeservedly Ignored Side of Interbay (they just want to be loved, is that so wrong?)

Although the Interbay music project tends to release tracks that blend the barriers of electronic dance music and post-punk, resulting in what I call "mutant pop," there are definitely some Interbay tracks that just simply rock.  

Sadly, many of these don't get the attention that they deserve--people who have gotten used to the type of dance music they usually get from Interbay might not feel like hearing someone turn their amps up all the way to eleven.

...but dance music and rock music have always been intertwined in my life.  I think that's been lost as scenes just leave each other alone now, content to stay in their lane and fill their niche.  A lot of rock music CAN be danced to, some will even have build ups and drops.  ;)    

Now, rock music has various genres and sub genres--not nearly as many as dance music, I'm pretty sure--and just as I like to blend unlikely genres together when I make dance music, I like doing that when I make more rock-sounding or guitar based tracks as well.  

If in doubt, I'll probably add them to the playlist--so don't get too pedantic about what does or doesn't, should or shouldn't, be considered "rock"--if it rocks, it goes on this playlist.  

As always, as the new Interbay tracks continue to drop (every single day, so far) I will update this playlist when there's a track that I think belongs on here.  

So, take a listen...share with a friend...and kick out the jams, motherf$#@%&rs!!!

The Rock Side of Interbay (this weekend, we rock portland!)

"What's up with all these putty-looking-ass whips, y'all?"--H. Green

A fun uptempo punky thing with obnoxious synths and a relentless race forward this track is a favorite of mine--both for how it turned out and how it came together.

I watched one of my favorite vlogs and felt inspired to create this.  While this is not sponsored by anyone, I hope this video makes you want to shop from the Good Store (where one can join the Awesome Socks Club) or watch some episodes of Crash Course, or, perhaps, sign-up for the Dropout streaming service by June 12th so you can see a particularly anticipated stand-up comedy special.  

I would like to think that if the subject of this track ever heard this track, he would be amused at what an old man (who owns both of his books and is anticipating socks...and who can totally relate to having had cancer and then doing stand-up comedy about it) can create in homage to someone doing wonderful work as well as being entertaining as all get out.  

(And, most importantly, I hope that he will not sue me.  I don't monetize anything I do, yet...so, please treat this for what it is...an homage from a fan.  And, absolutely, if it amuses you...feel free to share it with anyone you might like.)

 

"PLAW" by Interbay *SoundCloud Exclusive*

"Cold plunge.  Sweatbox.  Sweatbox.  Cold plunge." 

I've recently posted a track called "Discotheque"--but that track wasn't disco.  

This track is, actually, disco.  Or a mixture of disco and house and cut & paste and funk.  Is it the modern genre of "Nu-Disco"?  Not sure.  I'm old enough to remember Disco, first time around--I may not be the best arbiter of what constitutes "Nu" or not.  (I believe Lidell Townsell probably is, though. IYKYK)

Trainspotters might notice some classic cut & paste assets in the mix.  (As this IS a BlenderSample production, that's not unexpected.)  All in fun, of course.

Fun IS the name of the game here.  This isn't a solemn or sad disco track.  This is fun (as opposed to goofy, like Rick Dees & His Cast of Idiots.  Again, IYKYK)

I thought, as this is being released on a Saturday, that this track would be part of the soundtrack of a great night of dancing.  In other words, Interbay's gonna make you sweat.  

(...though, again, THAT song wasn't disco either.)  

  

"Sweatbox" by Interbay *SoundCloud Exclusive*

Did someone say "been awhile since" Interbay has posted a "proper rock song???"  

Yes.  Someone did.  

I did.  Yesterday.  

So, let's do this!  

Including the songs that were posted on Interbay's Facebook page, I think THIS is the most credible rock song I've managed to commit to...ummm....whatever the digital equipment to "tape" would best fit in such a cliched statement.  

And yet, it still has electronic elements to it--bolstering the blistering tempo of this rather dark alternative post-punk rock track.  Very much inline with the Interbay vibe.  

Obviously, this track will appeal more to anyone who has watched the HBO "Chernobyl" mini-series...but even for those of you who haven't (but should, it's quite good...even if it might stray occasionally from perfect accuracy), I think you'll get into it, too.  

I see some similarities with this track that some of you might recognize--there's definitely a dollop of "Public Image" by Public Image Ltd.  The ending seems like a proper homage to the Adam and the Ants b-side/rarity/fan-favorite "Beat My Guest."  And, surprisingly, when the keyboards join the guitars for an instrumental bridge--my head goes to the Sex Pistols classic material (surprising, because they're not a band one would associate with keyboards.)  

At the risk of sounding even more self-indulgent than I normally am in these descriptions, I could see "A Zed 5" as a song that would have fit on the never produced second album for my band DangerScience--and it could have been a monster of a track for either the live version of DangerScience or my previous band, Cremation Dance.  (Of course, you'd need a time machine for either of those to have occurred.)  

For those of you here for the purely electronic stuff, there'll be plenty more of that to come, I'm sure...but THIS is definitely a song that fits what Interbay is now (though, if Crash wanted me to...I'd attribute this to DangerScience instead.  Legally, this is as DangerScience as "Frightening Things" and could sit along side "Aircrash" and "Goodbye?")  

Once again, it would help me immeasurably if you did all the things--Listen, Like, Repost, Share, Comment and, most of all, Follow!  

Thank you!  

PS--Suddenly, "Beneath These Trees" has become Interbay's most played track...someone out there must have done many of the things for this sudden burst of unexpected popularity.  It is definitely appreciated!

"A Zed 5" *SoundCloud Exclusive*

"...il n'y a pas d'orchestre."  

This track is full of electricity and drenched in dread.  One might even say that this track is particularly Lynchian.  

I can't imagine that it would come as a surprise to learn that I've been influenced and inspired by the films of the late David Lynch.  When Cremation Dance, the first band I was in to escape the basement and actually gig, was formed...it was right around the time that "Blue Velvet" had been released--and that strange combination of the quirky mundanity of traditional American life (the way it never really was) with the surreal dreamlike quality of the underbelly of that traditional life...with brief glimpses of the supernatural thrown in to keep you on your toes.  

Plus, in its own weird way--it was pretty damn sexy.  (I don't think Lynch gets enough credit for this...and I'm sure there are multi-thousand word essays online about the psychosexual qualities of Lynch's films and tv work.  Makes me wonder what he'd have done with the whole Luke, Leia and Han thing had he accepted the offer to helm "Return of the Jedi.")  

The source of the Icarus risking dialogue snippets is from what might be Lynch's sexiest (and most confusing to some) film.  Glorious!

Marrying that Lynchian vibe to some grinding midtempo cyberpunk felt very natural to me--I certainly hope that it works for you.  There are synths positively sparking with escaping electricity.  The drums are headache inducing (in a good way?)  Not only are there crunchy guitars, but you've got a muted trumpet that swirls around you, a trombone that bleats and blasts, and a magician who demands your attention as he points out the artificiality of everything you hear.  

There IS no band.  There is, simply, Interbay.    

If you can, do ALL the things:  Listen! Like! Repost! Share! Comment! Playlist!  
Most of all, give this page a follow.  Brand new Interbay tracks are posted here EVERY SINGLE DAY (so far!) and I wouldn't want you to miss anything! 

"Listen (Aylala)" *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*

(Once again, an Interbay track has been done dirty by the SoundCloud algorithms--as yesterday's posted track, "Felony"--a melding of blues shouting and breakbeats, with guitars--has been woefully ignored.  Again, all I can ask is that you give it a listen--it deserves better.  Go check that out now and then come back and check out today's track.  Thanks!)  

Yesterday, I'd predicted that there'd be an uptempo guitar-based track coming soon--I even suggested that the next track would be bitpunk...and I think this track fits that description well.  Over drum machines, synth bass, and synth candy...a distinctive and pronouncd plucked guitar and some eurosynths propels this track into breathlessness.    

If this track had come out when I was regularly attending new wave nights at the nearby dance club--well, that would be astonishing, as it would mean that time travel had been perfected...but, beyond that, it would have been something that I'd jump up and run to the dancefloor.  

There's a touch of Devo in this track (I hear it most on the "don't lose your grip" lyric--take a listen and tell me if you hear it, too!). 

But, for as retro as this track can feel--it is, at the same time, very modern.  It doesn't sound dated (I hope) as much as it sounds like the old sounds have influenced a new production.  

...which is exactly what it is!  

If you need a pick me up, something to get your pulse rate up and make you pump your fist and shout "Zipliner, YEAH!"--probably freaking out your neighbors or your co-workers--I think you'll find this latest Interbay track to be a reasonable coffee alternative.    

But you don't need to read me talking about it.  Give it a listen.  It's under 4 minutes long, what do you have to lose?  (And if you just said "four minutes" to answer that rhetorical question...well, congrats...but also, I'll have  my eye on you.  Not literally of course, that would be gross.)  

I hope you like this latest Interbay track:  "Zipliner"  

(All of the usual requests:  Listen to the track, give it a like, follow the page for more Interbay--new tracks post EVERY SINGLE DAY, so far, you know!  If you're feeling extra appreciative, consider reposting this track or sharing it, or adding it to one of your playlists, or, especially if you have something positive to say, leave a comment.  All of that helps.  Thank you!)

"Zipliner" *SoundCloud Exclusive*

Last night, I watched a YouTube video about the song "River Man" by Nick Drake and I was inspired to craft a song in a similar style.  

(Spoiler:  "Forever In This Moment" doesn't sound ANYTHING like Nick Drake.)  

I had a funny idea for some lyrics and I'd say I was 85% done when suddenly I swerved, veered off course, and landed here this morning with "Forever In This Moment."  

What happened?  Quite simply, the lyrics didn't fit with the vibe of the song I had at the time.  So, I paused and took a second look at what I'd made.  I took out some parts, I added other elements, I changed the arrangement, I swapped out instruments, I gated the hell out of my drums...and suddenly, I had something VERY different.  

So, I took out the lyrics that no longer fit (I'll try to use them sometime in the future) and I found a couple of vocal samples that I felt fit...and suddenly, a completely new narrative for the track revealed itself.  

...this was a seance.  

This was an attempt to speak with the deceased through a medium...or maybe it was just someone so heartbroken that they tried simply to speak to the sky in hopes they could make contact on their own.  

It wasn't what I was thinking when I started this track, but I embraced it and went with it.  

Despite the newly discovered theme, this isn't a spooky song (otherwise, I'd be saving it for a few months).  Instead, this is some 80s style "big music"--and I tried to produce it like I thought Steve Lillywhite might have produced it.  Not only do the pianos sound large and majestic, but there's s major melodic element based around a viola.  (Reminder to myself--write more songs with viola!)  

There are synths, to be sure.  The bass is a synth bass (though I thought many times about swapping that out...but, in the end, I felt like it worked) and there's some glitchy arpeggios going on, too.  

Oh, and did I mention that I managed to get a Rickenbacker guitar sound on here, too?  (That's a rather dumb question, seeing as I can see what I'm writing before I post this...and I know damn well that I haven't mentioned that.  No wonder these descriptions get so long!)  

If "Visitation" was a fun, bouncy slice of dance pop cheese--perfect for a Saturday night...then "Forever In This Moment" feels just as appropriate for a Sunday afternoon.  Or anytime, really...I don't know what your schedule is like.  

As always, I just ask that you give this track a listen and this page a follow.  (...though, certainly, I like getting likes...and reposts, shares, comments and playlist adds, as well.)  

"Forever in This Moment" *SoundCloud Exclusive*

Thank you for still clicking on this track, even if the thumbnail might have given you some caution.  The music normally associated imagery of the historic American West doesn't usually sound very much like Interbay.  

But, trust me--"He Comes Riding" is SO Interbay.  So, hit play and read along!  

Like yesterday's posted track, "Over the Course of One Night," today's track was a leftover from when I was posting music videos on Facebook.  The only vocal I had at the time was two instances of the gospel blues shout of the title, "He Comes Riding."  

It sat in the Vaults for a long time, until I produced the song "Felony," which I posted about a week ago.  "Felony" is a dance song with redlined throaty shouts of basic wants and needs.  I thought it worked quite well...and I remembered that THIS track (which I had given a temporary project name of "Round the Mountain"--so the fact that our heroic cowboy in the thumbnail is coming from around the mountain is another Interbay easter egg.  (Bonus Interbay points if you didn't need me to tell you that to make a connection between the image and the nursery rhyme.)  

I liked the idea of working with shouty blues vocals.  

Meanwhile, the inspiration I had for the music wasn't actually Western music (in the "Country & Western" use of that term.)  It was actually The Beatles, specifically "Taxman."  So, that means that "He Comes Riding" is also inspired by "Start!" by The Jam.  ;)  

It was only later that I recognized that rather than being sharp and angular, like a Gang of Four song, the single note plucked guitars gave the track a Western feel.  So, call it Americana or Alt-Country if you wish, Vicar.    

There are some rather thick synths in this track and some stutter edits and other modern fx, so I feel less sheepish than perhaps I should in using "Electronic" as the main tag.  (Tracks where I DON'T give "Electronic" as the main tag typically do not get as many listens as the one that I do...so, I'll grab any excuse to do so.)  

It's odd, the thing that took the most time once I decided to grab this project out of the Vaults and get it ready to post today was settling on a title.  There are three distinct vocal sections.  You've got the "When It All Falls Down" part, the "He Comes Riding" part, and the "Baby Please Don't Go" part...and all of them could have given this track its name.  I also spent a fruitless search for a word or phrase that connected all of the various lyrics and the general vibe.  (Does this feel like it was based on an imaginary TV Western show's theme song?  I did...so, I considered calling this "Hi Ho Silver" or "Blazing Side Saddles" or "There's a New Sheriff in Town"--but none of those felt right.  

So, if what you wanted on your Saturday afternoon was a track that blends Teddy Pendergrass style insistent male vocals, Beatles and post-punk angular funk music, with touches of gospel, the blues and even some Western tropes...and a synthesizer and a more complicated than it has to be name--well, how serendipitous, because that's exactly what "He Comes Riding" is!  You're welcome (?!?)  

Hear for yourself and give it a listen.  While you're at it, give a listen to "Felony" and see if you feel there's a connection between the two Interbay songs.  Give a like to the one you like best--or both!

...it would also be cool if you reposted this track, if you shared it with a friend, if you added it to a playlist, if you left a comment, and if you follow this page for MORE Interbay--as never heard before tracks are dropping every single day (and have for well over a year now!)    

"(When It All Falls Down) He Comes Riding" *SoundCloud Exclusive*

Really showing a lot of Numan influence on this one!  

Today's Interbay track (did you know that there's a never before heard Interbay track dropping every single day?  You really should follow this page.  The rollercoaster is a fun one!) is one of the tracks where I start by looking for fun words that start with unusual letters and see what my brain cooks up as far as some music that I imagine would fit that word as chosen for the title of the song.  

(When you've dropped brand new tracks for 470 consecutive days, sometimes you need to change your process every so often to not just make the same track over and over again.  And, leaving certain decisions to fate--or, in this case, to a dictionary--can push you into creative places you might not have ended up on your own!  I feel like I need to thank Brian Eno here, but I wasn't directly following any of his creative strategies, really.  I just like making tracks with titles that incorporate the whole alphabet, and this is how I figured out how to do that.)  

Sometimes, vast impacts can have origins from what might seem like insignificant changes.  That was what the title of this track inspired me to work towards.  That's not what Xylyl means, but it does talk about the results of what happens to a few specific things when removing a hydrogen atom.  Thus the "remove one atom and the whole world changes" conceit--which is more of an idea connected to "the butterfly effect" than anything to do with isomeric monovalent radicals derived from the three xylenes.  

(The best thing about Interbay for me is that I get to learn about so many random things!)  

I also look for inspirations by trying different plugins--both instruments and effects--to see how using them informs my creative process.  My choices, often quite random and based on the names of plugins I've collected over the past couple of years, can either focus an idea towards a specific sound goal...or it can spread it out and become the sort of mishmash that Interbay, if it is known at all, is known for...  

This time, I got pushed into a late 70s early 90s synth vibe.  One of the sounds I discovered in a plugin I've only used rarely, sounded a lot like Gary Numan...so, I then chose to use the Vox Humana sound that Numan used so effectively from a different plugin...and all that seemed to fit the unusual retro drum machine that I was working with.  Unusual in that the drum sounds it had were somewhat thin and not nearly as punchy/thumpy as modern dance music expects (though, I did beef that sound up with some fx in this end mix.)  

One other touchstone here?  The title track to the "Moonlight and Muzak" album by M--the album that has "Pop Muzik" on it, which could be considered the first new wave/synth pop hit.

I think you're starting to see how this track ended up sounding like it does.  Though, I can't answer the question of why there seems to be a handful of bees that are flying back and forth across the stereo spectrum...or why the occasional brass sounds like it was burned in a tragic fire.  I mean, I made those sounds do those things--but I don't have a thematic reason for having done so.  (Sometimes, I just embrace happy accidents and allow myself to like incongruent things.  Blame neurodivergence if you'd like.)  

Somehow, I ended up with a track that is somehow simultaneous deep but simple, downtempo but at a surprisingly quick tempo, atmospheric but still with forward momentum.  

In other words, I made an Interbay track.  They don't always make sense--but hopefully they're never dull.  

Listen to "Xylyl" and let me know what you think.  I hope you like it (and give it a like if you do.)  You are also encouraged to repost, share, comment, add to a playlist...and, of course, to follow this page for even more Interbay.  (You can also check out the huge back catalog found here, or throw on one of the three all-Interbay playlists available currently.)

"Xylyl" *SoundCloud Exclusive*

First of all--the algorithm has done yesterday's track a bit dirty.  Maybe the unpronounceable name has limited the number of people it gets recommended to--but "Xylyl" is a track deserving more listens than just 14 (which it has as I type this)...so, even before checking out today's Interbay track, take a couple moments to give that one a listen...then come back here and give that same love to "I Can See The Light."  

Now then...(thank you, for those of you who actually did that!)...here's a little bit about "I Can See The Light".  This is synth pop with horns (both synth horns and heavily filtered 'real" brass) and a rock song structure.  In other words, once again, it's an Interbay track.  

I think what will get the most attention in this track are the vocals.  No spoken word narrators on this track, this is proper singing from a proper singer...bluesy and full of emotion.  (And taken completely out of context, which I hope is enough to keep Icarus safe for their efforts here.)  

My favorite part is probably the tom tom heavy drum break with chopped up vocal samples flying back and forth.  Reminds me of the sometimes dubby sounding middle breaks found in certain Led Zeppelin songs--which, you have to admit, is an odd thing to say about a synth pop tune made in 2025.    

So, if you like the poppier or rock-leaning Interbay tracks...or you're a trainspotter who might be shocked by the audacity displayed here...or you just enjoy the crazy rollercoaster that Interbay takes you on every single day (so far!)...I think you'll like "I Can See The Light".  (I also think that you'll like "Xylyl"--though they are quite different adventures entirely.)  

So, all the usual requests:  Listen, like, repost, share, playlist, comment...and follow.  
Thank you!

"I Can See The Light" *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.