Composed by 𝙉𝘼𝙍𝘾𝙄𝙎𝙎𝙄𝙎𝙏𝙎.
Featuring 𝙎𝙏𝙊𝙍𝙈 𝙋𝙍𝙊𝘿𝙐𝘾𝙏𝙄𝙊𝙉𝙎.
https://soundcloud.com/darealstormproductions

They tried one time to hold it down,
You're never gonna get very far.
I hold my breath until the end,
You go back to who you are.

You'll never know if you don't try,
You've never lived 'till you've died.
I missed my train.
You'll never know if you don't try,
You've never lived 'till you've died.
I missed that train.

And all the people saw the light leave your eyes,
And then the ruler beckoned to the skies.

They tried one time to hold it down,
You're never gonna get very far.
I hold my breath until the end,
You go back to who you are.

They tried one time to hold it down,
You're never gonna get very far.
I hold my breath until the end,
You go back to who you are.

You'll never know if you don't try,
You've never lived 'till you've died.
I missed my train.
You'll never know if you don't try,
You've never lived 'till you've died.
I missed that train.

NARCISSISTS

Try Again (Ft: Storm)

TRY AGAIN | Ft: 𝗦𝗧𝗢𝗥𝗠

American Water

No Podras Escapar

Princess Dirty Dress

Eddie And The Boys

Mixed in Mixbus 32C v.8 to a DR of 12 @ -23 LUFS, the loudness standard recommended in EBU R128. Reverb by Valhalla Vintage Verb. Delay by Soundtoys Echoboy Jr. Tokyo Dawn Slick EQ Mastering Edition on the master bus.

Push & Pull by Mini Simmons

Ninety-Four minutes of music featuring : - The Action, James Brown and His Famous Flames, The Chi-Lites, Monkees, Michael Nesmith, Graham Gouldman, Nic Armstrong, Westworld, Bowie, Foster The People, Dukes of Stratosphear, Triptides, Left Banke, Byron Lee & The Dragonaires, Culture Club, Stevie Wonder, John's Children, Marc Bolan & T Rex, Ian Dury & The Blockheads, XTC, The Faces, Berni Flint, Neil Diamond, Sheena Easton, The Maisonettes, ELO, Style Council, Clean Cut Kid, Barry Gray Orchestra

#128 Boys Keep Swinging

The Big 80's

No End In Sight

Can't Be Gone

I Still Want You

Odyssey

Live For Today

Ain't Gonna Take It

No Looking Back

Rock Your World

Love Gone Wrong

Wonky-Tonk Kill-Disco muzak for folkz sick of the static quo.

For a free download just head to our Bandcamp page and put "0" in as the price!

Mixed in Mixbus 32C v.8 to a DR of 12 @ -23 LUFS, the loudness standard recommended in EBU R128. Reverb by Valhalla Vintage Verb. Delay by Soundtoys Echoboy Jr. Tokyo Dawn Slick EQ Mastering Edition on the master bus.

Contemporary recorded pop music is lifeless and congested because, if it is tracked into a DAW, it is recorded with levels that exceed digital zero, which is -18 dBFS (18 dB below the top of the meter scale).  Doing this creates sound files which are harsh, muddy, and lacking in dynamics and high frequencies.  These distortions are burned into the recorded tracks.  The digital plugins that are used to mix these bloated binaries are designed to operate at -18 dBFS, as are the AD/DA converters.  When the mix is finished, it is converted into an MP3 for distribution.  The MP3 codec was created in the early nineties by Karlheinz Brandenburg of the Fraunhofer Institute and was optimized for -20 LUFS using a track by Suzanne Vega called "Tom's Diner." When music streaming service was first conceived, a loudness normalization of -14 LUFS was selected by the creators of Spotify because the telecommunications regulators in the European Union had limited the volume of European cellphones to prevent hearing damage.  The difference between -14 LUFS and -18 LUFS and the over-zealous compression necessary to achieve this loudness level doomed the world of recorded music to a flaccid future.  The mixes that I have created for this site are an attempt to salvage some liveliness and snap from the regulatory wreckage by adhering to the EB. During the mix process, all faders remain at unity.  Level adjustment is done with clip gain and the trim pots, and those levels hover at approximately -18 dBFS on all channels and buses, including the master bus. The final export is then normalized to -23 LUFS which is the loudness standard of EBU R128.  A good deal of the credit for my success in this endeavor must go to the DAW that I employed in this task.  Harrison Mixbus 32C version 8 models a classic hardware console used on many iconic recording projects.  Its math sounds euphonious, and its summing sounds like an analog console.  EQ, 3 varieties of compression, and tape saturation are inserted on every track and bus. The settings are visible and adjustable without having to open a plugin, so mixing a song can be done quickly without leaving the feeling of being "in the flow." It has a subroutine which is used to optimize phase. Each channel also has an obvious trim control, so that fader controls can be left at unity during mixing in order to preserve dynamic range. Valhalla Vintage Verb is the only external plugin used. Although most music streaming services currently normalize to -14 LUFS, an international movement is underway to gradually move toward -23 LUFS within 5 years, as legacy mobile devices with limited dynamic range are retired.  Recorded music deserves this greater care.

If you want it caked in mud and clogged with loamy soil. If you want it stinking of the dark earth, hidden from light beneath the green fuse, and cloaked in oomskah. This is the sound of the underground: Chthonic youth gone wild, gone off. Gone Orpheus. This Blasted Heath is alluvial: slow accretions of gummy filth built up over decades: newsprint, underlay, carpet, dust bunnies, spilt blood. It's gaudy nights with Grecian gods, rough and tumble down the lock up with Eddie and the Boys. This Blasted Heath is a wedding reception massacre and a long, dark winter of the soul. Come drain the flowing bowl.

AKA "The Old Blokes Scope" from my Periscope days. Trying to branch out and inflict my musical tastes and interests on others.

New tracks tagged #Glam Rock