50 Days of Soundcloud #15

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“Empire’s Comin’ Now We Gonna Get Blessed”

Another entry in my series of “songs that use synths to make something approaching heavy rock and/or punk”. Noisy, ravey, and I really like the coda.

The death of Soundcloud made The Pitch a few days ago!  Also of note from that article:  the phrase “broken embeds, dead links, and lost sounds” sounds like a stellar name for an album that I’m totally going to do now.

As always,

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50 Days Of Soundcloud #12

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“Formula Modernia”

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Feel free to check out some books:  today’s featured titles include Disappearance, only 99 cents, which if you enjoy the action bits in books and you like apocalypse fiction you’ll enjoy; What You See Is What You Get, which manages to combine the specter of ag-gag laws with criminal trials that look more like reality TV than anything else; and 9th Street Blues, about a kid delivering cobbled-together drugs in the near future ruins of Woodward, OK (and is also the jumping-off point for my new serial novel, coming soon from ATM Publishing).

50 Days Of Soundcloud #11

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“Waiting For The Sign”

I want to say this was 2005, at the tail end of doing these sorts of faux-guitar sludge-heavy electronic tracks with creepy Apple Talk forced melodies. At the very least I remember it being the last one of them I ever really did. I still like the reversed beat that threads through parts of it.

Feel free to check out some books:  today’s featured titles include Disappearance, only 99 cents, which if you enjoy the action bits in books and you like apocalypse fiction you’ll enjoy; What You See Is What You Get, which manages to combine the specter of ag-gag laws with criminal trials that look more like reality TV than anything else; and 9th Street Blues, about a kid delivering cobbled-together drugs in the near future ruins of Woodward, OK (and is also the jumping-off point for my new serial novel, coming soon from ATM Publishing).

50 Days Of Soundcloud #10

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“The Function Across The Street”

I was once, back when GarageBand.com was still a thing, referred to as the illegitimate son of Herbie Hancock. I don’t think it was for this song, but then again it might have been. Lord knows it has a zippy, jazzy feel to it. The “function” across the “street” referred to the twin bars across from where I was living in Brantford, ON at the time; one had a sort of half-assed tiki bar theme going on and the other, right next door, didn’t, but both were quite busy on the weekends.

Feel free to check out some books:  today’s featured titles include Disappearance, only 99 cents, which if you enjoy the action bits in books and you like apocalypse fiction you’ll enjoy; What You See Is What You Get, which manages to combine the specter of ag-gag laws with criminal trials that look more like reality TV than anything else; and 9th Street Blues, about a kid delivering cobbled-together drugs in the near future ruins of Woodward, OK (and is also the jumping-off point for my new serial novel, coming soon from ATM Publishing).

50 Days Of Soundcloud #9

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“The Creation Of The Morning Line”

There are two versions of this track, which features a reading by Bukowski as the vocal line. The other one is breakcore, all violent head-shattering drums; this one is much lighter, with more of a dub bass feel. It’s a bit more playful, and it suits the dissolute nature of Bukowski’s poem better.

Feel free to check out some books:  today’s featured titles include Disappearance, only 99 cents, which if you enjoy the action bits in books and you like apocalypse fiction you’ll enjoy; What You See Is What You Get, which manages to combine the specter of ag-gag laws with criminal trials that look more like reality TV than anything else; and 9th Street Blues, about a kid delivering cobbled-together drugs in the near future ruins of Woodward, OK (and is also the jumping-off point for my new serial novel, coming soon from ATM Publishing).

Seriously, though, buy a book or two.

50 Days Of Soundcloud #6

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“Singing Plastic Songs”

44 days to go…if no one buys Soundcloud, people will wonder what the people of the mid-teens meant when they used the term “soundcloud rapper”.  “What does it mean that Lil Uzi Vert was a Soundcloud rapper, daddy?” they’ll ask.  “Not a goddamn thing, you ungrateful little bastards”, I’ll answer.

“Singing Plastic Songs” has this fun little drum n bass break over some sludge-synth work.  It also has more of that Apple Talk vocal work, which means I probably wrote it 2003-2004 or so.  It’s marked off as being on Goodbye To Welcomesville, which was the name I gave my non-political stuff, so that’s probably 2004.  It’s a little three-minute pop song, not much more.

50 Days Of Soundcloud #5

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“The Circle Had No End”

45 days to go…I wonder what the feeling of impending doom there is like.  Will someone buy them?  Will they just collapse and decay back into the background history of the internet, a background history that is always changing and has eaten larger sites than Soundcloud?  Time will tell.

At any rate, “The Circle Had No End” is another instrumental electro-jazz number that I made when I figured out how moving parts all moved together in sync.  More of those big blank arcade waves, too, which is fun for me and maybe not for you.  That piano has a definite layer of dust bouncing off of it with every strike, cold and clear and with thin scrum of frozen reverberation.  Tasty and a little uncomfortable.

Also of note, I have a book – the first part of a serialized novel – coming out very soon on ATM Publishing.  Set your reminders to stun.  Just, god, don’t shoot yourself.

50 Days Of Soundcloud #4

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“The Burial Of The Dead”

Something a little newer, this piece is a standout for me because the reading of the first part of T.S. Eliot’s The Waste Lands works so well in this setting.  This came about when I was entering tracks into the Making Hip Hop subreddit’s weekly Flip challenges.  They never got much play, mostly because the winners were always trying to be No ID or Mike WiLL Made-It and I was trying to be RZA with a generous splash of Clams Casino from time to time.  At any rate I think sample (Nancy Priddy’s “And Who Will You Be Then?”) and beat flow great together, and the poetry reading over top leads to a few moments of frisson, for me at least.

50 Days Of Soundcloud #3

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“That Great Backbone In The Sky”

Has anyone bought Soundcloud yet?  There’s 47 days of cash left.  Surely it can be monetized somehow, right?  Anyway, here’s another track I’ve uploaded for free with no financial obligation on my part toward Soundcloud.

This one is an instrumental, sort of electro-jazzish, named because the illustrious ludoligist Mark Pifher thought that a later lead synth in the piece sounded like I’d sampled the connection tone from a dial-up modem.  Don’t let that scare you off – it’s not quite as bone-chillingly irritating as the lead lines on liars’ “There’s Always Room On The Broom”.  It’s basically a melodic interplay of a number of synth voices with a chopped-up break holding the rhythm underneath.  It’s a pretty tight track, all in all, even if it’s not mastered to perfection.  DIY baby, punk rock forever.