excellent sounddesign  % great vocals.....!

Great drive on the guitars, sounds really cool. Awesome vocal mix

damn man, one of the best songwriters & producers I know

NICE one!!! Really well done all around, lots of diverse tones and excellent production.

love the disco beat framing the darker rock sound here

The opening bass notes are superb... leading then to class rock vibes. The guitar sound is cool.

Nice groove and overall 80s sound.  Like that little bit of atonality that creeps in now and again.  Great production and vocal.

Download: https://analoguetrance.bandcamp.com/album/warm-sun

MySpringHope

Released in honour of our outtakes compilation: A track written during the Broken Hearts album, abandoned and resurrected for our vocoder-experimentation phase and then abandoned again. Finally tidied it up and mastered. It should sit well with the other rejects!

LYRICS:

Separate the remainder after the divide
Calculate how much you're ashamed of the offender inside
Substituting the key for a hammer and nail
Begin subtracting the time that you've been sentenced to jail
A formulaic solution where our morals collide

The fourth time that you crossed the line
You want to rewind indiscretion and crime
And it's the fourth time and you're in decline again

What you gonna do when the rain starts falling?
What you gonna do when your friends come calling on you?
You're gonna close the curtains and inform on them too

The Fourth Time

M A R V I N

This is a song I wrote called “Eyes of the World”, recorded on my cassette 4-Track with my ‘70s Westwood acoustic, Fender Telecaster, ‘68 Fender P-Bass, and 18” Zildjian crash (that I played while recording the vocal). I recently converted the analog master tape to digital. If you dig it please feel free to comment or repost! Thank you, Tim 🙏🏻✌🏻

Eyes of the World (original analog track)

Addiction

Original composition....Alejandro Gonzalez M.

Antarcticae

Thirteen tracks. Thirteen voices that dared to break silence.

From Daniel Ellsberg handing over the Pentagon Papers to the modern struggles of Matthew Chenoweth Wright, Blow traces a lineage of whistleblowers who chose truth over comfort, disclosure over complicity. Each track takes its sonic cues from the era and mood of its subject — folk protest, punk defiance, electronic paranoia, glitch-jazz catharsis.

This isn’t a history lesson; it’s a soundscape of risk and revelation. Every whistle blast becomes a note, every secret unveiled becomes rhythm. The album moves chronologically, building a tapestry of courage and consequence: Cold War secrets, corporate scandals, digital leaks, and finally the physicist’s own coda.

Blows aren’t always clean, and neither is this music — it’s urgent, jagged, insistent. These songs remember those who raised alarms when the world wasn’t ready to listen, and they ask: when the next whistle sounds, will you hear it?

Breath

Grievance

A song about being the awkward guy at the party. At the last college party I ever went to, I was just posted up in a corner like the song says. A girl who was in our friend group kind of kept looking back at me like she wanted me to approach or something... idk. I've kind of always been the shy awkward dude, particularly when it comes to women.

I'm not really worried about women anyway since I'm just super focused on my music right now. I did definitely like her though. Sometimes I still wonder how it would've gone if I just went for it.

Another day, another party where I don't fit in
Only here just to tag along with my best friends
Too loud, too many people and I start to frown
I find an isolated corner and I sit on down
Sipping on my drink I scan the room
Only takes a couple seconds to lock eyes with you
It gets a little too intense and I look away
If I had any courage I'd walk up and say

We're drunk and it's late so
Let me take you home
Now it just feels so right
Let me stay the night

We've met before but we have never really talked
Can't make a move I feel glued to this wall
Steal glances at each other for most of the night
It's so silly of me but I'm just too shy
Having no confidence really bites
I'd rather not be alone tonight

We're drunk and it's late so
Let me take you home
Now it just feels so right
Let me stay the night
We'll turn the lights down low
When I take you home
Come on, come on, let's go
Where we can be alone

You keep looking back at me with light behind your eyes
Looking so beautiful
But if I misread your signal in front of all these people
I'll just feel like a fool

Finally I get up and it's time to go
Looks like I'll be spending the night alone
I can't even bring myself to meet your gaze
You probably don't even like me anyway
Passing by I wonder what you think of me
Guess I'll never know because I'm cowardly

We're drunk and it's late so
Let me take you home
Now it just feels so right
Let me stay the night
We'll turn the lights down low
When I take you home
Come on, come on, let's go
Where we can be alone

Just the Beginning

Take You Home

Sweet Power

This is my first track working with modal mixture. The music constantly modulates between Bb minor and Bb major, though the Bb major part is essentially played in G minor.

I think it has a nice dark feel to it, particularly when the groove modulates down. This is also the first track where I've gotten my kick to come through even on small speakers! Oddly enough, though, I feel it's a little too much now.

The solos and music tell a story of sinking deeper and deeper into darkness. Notice how the solos do less each time until it just disappears, like a man who loses enough to finally give up.

Faith

Underwater

based in the north east of England indie rock ,acoustic rock , alt rock

Addiction

82 ( Ian Willis )

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