Retro synth pop track with slap bass groove and electric guitar.

Zero Additional Exposure

Ry Cooder meets Aphex Twin. This is my slide guitar debut. Turns out playing slide is harder than it looks.

Glass and Metal

Fourteen tracks written, recorded and produced in twenty-eight days for FAWM 2012.

F.A.W.M.

One track from my 2020 FAWM (February Album Writing Month) album.

FAWM 2020

Salts Waltz

Faux cop show theme written and recorded in two days for February Album Writing Month (FAWM) 2013. Telecaster wah-wah extravaganza.

The Fuzz

Short piano solo written and recorded in a few hours for February Album Writing Month (FAWM 2013).

Solo

Mellow electronic track with guitar and bass solos, written and recorded in two days for February Album Writing Month (FAWM) 2013. Begins and ends in a 5/4 time signature. The mix needs improvement but otherwise I'm pretty happy with this.

808 Jam

Written and recorded in two days for February: Album Writing Month (FAWM) 2013. Entirely inoffensive instrumental synth pop, with bass groove.

Character Select

Written and recorded in a few hours for February Album Writing Month (FAWM 2013). Folk dance.

Russian Meteor

50-second pure percussion track built entirely from samples of knitting needles being tapped or dropped on a hard surface (even the bass, heavily EQd). Hi, Delia. Recorded in a few hours for February: Album Writing Month (FAWM) 2013.

Needle On The Record

Orchestral experiment written and recorded in two days for February Album Writing Month (FAWM) 2013. There is much here that could be improved but I would need a lot longer than a couple of days to do my best with this.


In Too Deep

Written and recorded in two days for February: Album Writing Month (FAWM) 2013. Synth brass lead says hello, emphatically. I threw this down pretty quickly. It's a bit more looped than I'd like, but that's time constraints for you.

Honk

Written and recorded in a day for February Album Writing Month (FAWM) 2013. Melodramatic, fast, dirty instrumental with some eclectic instrumentation choices.


Barbed Wire

[This song was featured in issue 620 of the b3ta.com newsletter!]

Written and recorded in a day for February: Album Writing Month (FAWM) 2013. There is only one legitimate application of Auto-Tune as an effect, and that is to satirise all other (illegitimate) applications of it.

Lyrics:

They told me that I should hang my guitars up
Sell my bass and throw out my sticks
Mocked my woeful dedication
'Cause I play the piano like a ton of bricks
I've got this problem with performing vocals
It causes me no end of strife
My execution forever suspect
'Cause I can't sing to save my life

But it's okay, because:

I've got Auto-Tune
It works by autocorrelation
I've got Auto-Tune
And it will fix my intonation
I've got Auto-Tune
It helps me to perform my best
I've got Auto-Tune
To make me sound like all the rest

There once was a time when to be a musician
Meant you had to learn your scales and your sharps and flats
To sacrifice your childhood in front of the piano
But nowadays I know better than that
All I need to do is sit at the computer
Twist a few knobs, and loop some things
Add some wobbly bass and a resonant filter
Which just leaves the problem that I can't sing

But it's okay, because:

I've got Auto-Tune
It was the missing piece of the jigsaw
I've got Auto-Tune
And now there's not much left to strive for
I've got Auto-Tune
And every one of my songs is a gem
I've got Auto-Tune
To make me sound like them

Take it!

I've got Auto-Tune
Because otherwise I couldn't hack this
I've got Auto-Tune
And it's saved me years of practice
I've got Auto-Tune
'Cause it worked for the Gregory Brothers
I've got Auto-Tune
To make me sound like all the others

(Give us a kiss)

phenola

Popular tracks