Short instrumental featuring my new home made lap steel. Recorded using AmpKit, with a little bit of tremolo, reverse delay, the American Dual amp and *lots* of reverb. 

See the instrument here: http://www.flickr.com/photos/guitarfish/sets/72157627312820165/

Velo!

From the 1701 11th edition of Playford. It's a wonderful tune that sits well at a steady speed for the original dance or at a fast pace for something more lively. Or with thrashy drums, the occasional dropped beat and a wah wah solo.

Childgröve

A track for those who hark back to the great music of the '90s -- the 1690s that is. The Emperor of the Moon is from Playford's 8th edition, published in 1690. Mashed up with a riff reminiscent of the Beastie Boys' "Sabotage" and dual guitar solos.

The Ëmperor of the Möön

This tune comes from the John of the Green Collection, but there's no further detail given of the source. Like other arrangements in this 3rd edition, the tune struggles against some poly-rhythmic nonsense (here setting bars of 5 and 6 against a 7) and just about makes itself heard. 

Throw in a cod symphonic orchestral intro and growling analogue bass and the real riddle has to be "why in God's name are you continuing to do this?"

Rïddle's Hörnpipë

A lovely 3/2 from Playford 1710 Volume the Second, 1st Edition. And what would make it more lovely? Having more! So the A tune gets an extra beat, giving a scientific 16.7% increase in loveliness. Then all sensitivity goes out of the window and we're into flattened fifths in five. Are we at the top yet?

St. Märgäret's Hïll

A title that sounds like it really belongs on an 80s hair metal album. The Lass referred to is allegedly a horse though, so that's all fine. It's from Robert Bremner's Collection of Scots Reels, Country Dances (1757) via, once again John of the Green -- I've definitely got my money's worth from that collection.

Most of the drum patterns and a lot of the riffage for this arrangement is lifted wholesale from Pelican's "Deny the Absolute". Larry Herweg, drummer in the Chicago post-metal outfit, gets a lot of bad press online. To be honest, he *is* pretty sloppy and his timing drifts all over the place, but I really like the way that on that particular track there's very little light and shade from anyone in the band, and it's hammer down pretty much all the way. That's the attempted feel here, so there's no messing around with 13/8 time signatures, skipped beats or any of that nonsense. It's just a bunch of drop tuned guitars going full pelt in 4/4.

Höd the Läss Till Ï Cöme at Her

More adventures in space. Multi-tracked Arturia Microbrute + NASA samples.

Drei#XII

Multi tracked Arturia Microbrute with a NASA Apollo IX launch sample. Mixed in Ableton with additional reverb and delay.

Vier (IX)

A tune by Grahame O'Connor, given the 80's console treatment. 

In my mind, it's a platform game where Alfred has to avoid burning cakes, armed only with a fishing rod.

Multitracked Arturia Microbrute, sequencing in Ableton.

King Alfred's Reel (8 bit console version)

More adventures in space. Multi tracked Arturia Microbrute with a NASA Apollo XVII samples. Mixed in Ableton with additional reverb and delay.

Fünf {XVII\Cutoff}

To Infinity and Beyond! This track features a multi tracked Arturia Microbrute plus Korg Volca Keys with NASA Apollo XIV samples. Mixed in Ableton with additional reverb, delay and percussion. And a passing nod to 80s new wave....

Sechs XIV;Blackout

To mark our arrival in the sunlit uplands (TM) of a glorious future, here's A Trip to Paris from John Walsh's collection of 1711. And what better way to celebrate our new found freedom and sovereignty than with a hastily cobbled together cut and shut of inappropriate time signatures and a cracking tune? First of all we have to wade through three minutes of doomy sludge. The A tune's been knocked around a bit in order to fit in with the 5s (and occasional 5½s) of the accompaniment. Then the B gets curtailed about two thirds of the way through. Probably didn't have the right paperwork and got turned back on arrival at Calais. Still, blue passports, eh?

Ä Trïp to Päris

Also known as Nobody's Jig (a name that offers significantly fewer umlaut opportunities), this tune appears in the 1679 6th edition of Playford and also Walsh's Compleat Country Dancing Master. The tune's in 4/4 as the term jig could be applied to any spirited dance tune of the time, rather than the 6/8 that we're more familiar with. To avoid any possible disappointment or action under consumer regulations, there are a few triplets slipped in here every now and then. Topped off with a ridiculous Malmsteen-esque solo. Yes M'Lady!

seanbsound

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