a man sitting in a chair on the second floor looking out the window.
My earlier foray into music, when I couldn't think of anything to write about. [more inside]
Not in my town. Not in any of my five towns. [more inside]
Eighties inspired electropop with vox verse and instrumental dance hook. That's Arundhati Roy you hear at the beginning. I just had to use that beautiful voice of hers somewhere.
A simple, melancholy electro instrumental that I recorded a couple of years ago. Percussion ideas came from various hip-hop sources; the melody is my own. I use it as background music during a spoken-word segment of my live shows. [more inside]
Tender love song with an intriguing, unusual structure
In 1993 I spent every weekend between the Spring Bank Holiday recording songs that I'd written on my four-track tape recorder. I'm not sure where they came from. On August Bank Holiday Monday I mixed down the final album - It's Amazing What Some People Can Believe - and copied it onto C90 cassettes. The run almost reached double figures. A raging success, then. This is the first track on Side One. The almost fifteen years' distance allows me to admit that I like it very much.
Long weekends are great for getting stuff done. This here is why the yard is still overgrown.
A while back, I posted a song called Yes, Dope. The vocal samples in it were from this here song, by my 80s punk 3 piece, The Whores. This song was included on a local sampler album put out by Glitch Records in '86, and inexplicably went to #1 on a little college station somewhere in upstate New York, and stayed there for 6 weeks. I was #1 in New york!
just a random idea i had. droning synth with vocals.
In the grand tradition of rock and roll waltzes, I bring you Angel Waltz.
Say gnfti, how's your falsetto doing? Why, I'm glad you ask! Here's a Loney, dear cover.
Sort of mildly generic uplifting pop-punk from my band (http://myspace.com/cutofffrequency). Recorded on our own, mixed on our own (not done yet), still yet to finish the mixing and mastering process.
This is an older song, comprised about six years ago. It is an angsty song, concocted in response to the second lesbian with whom I was madly enamored declining and telling me I was "beatific". It is a poppy song, and I wouldn't post it were it not, in my opinion, catchy. I'm well over the emotions, but the song is still kinda cute.
A quirky but perhaps oddly serious song inspired by that old Snake video game, written and recorded for the mefi music challenge.
This song is not actually a cover of any actual song, even though it pretends to be for reasons that will become obvious when you listen to it.
A poppy ditty about a girl's good fortune thanks to yours truly.
Here's another song by drowsy, my one-person band, and once again daja sings guest vocals. Voice and autoharp and nothing else, recorded live to four track cassette (but we only used two of the tracks).
How many autoharps is too many? 'Cause this song has four. (more info in the first comment.)
drowsy, my autoharp-driven one-person-band, briefly expands to two with daja's guest vocals on this song. Pure pop bliss in two minutes or less. Served up winsome and bitter, just the way you like it.
A pop-rock song about bypassing the supermodels and going straight for the solid girls. Tried to write it catchy, melodic and rockin. Feedback would be much appreciated.
Dan and Leland are an acoustic duo blending great guitar playing and vocals with melodic songwriting and thoughtful lyrics.
This one is a few years old; I'm playing and singing everything. The drums are loop-based but everything else is 'live'.
A Metafilter exclusive! This is the studio version of my contribution to the meficomp. It's the second track from my new album, which is available now.
This is a demo that my friend James Burnham and I co-wrote and co-produced last month in Cubase. The harmonies fall apart a little in the end, but I thought it was worth posting. We'll probably re-mix it soon. I'm singing; James programmed. - Tyler Massey
The final song from The Olivers' slap-happy EP. Complete with bald-faced Beatles and U2 references. Listen, Comment, Favorite, and Add To Playlist. Enjoy!
A cover of the first verse and chorus of the Gnarls Barkley song, primitively recorded live a while back when I had a cold. My wife was really into the song and I recorded this for her as a goof, but it came out kinda good.
An unapologetically cheesy Michael/Janet Jackson style 90s epic pop song. I just got a new main synthesizer (Yamaha Motif XS) and per tradition, when I get a new piece of gear, I write a new "demo song" with it. Everything you hear is coming out of this insane keyboard in one pass, no external processing! DON'T hit play if you're opposed to sugary Teddy Riley style swing, you'll be nauseated. I'm an equal opportunity nostalgist! :(
The opening track from my upcoming LP. Handclaps, ooh bop bops, fiddles, and flutes.
Lyrically naughty, musically atmospheric. Features guitars, vocals, brushed drums, African thumb harp, clothes hangers, and a shy half of a fake symphony orchestra.
This is the closing track of my debut LP, Steve Goldberg and the Arch Enemies, to be released 4/20/07.
My wife accidentally broke a vase. This song resulted. It was recorded in a couple of days inbetween other projects. I used no clicktrack, metronome or drum beat, so the timing is nice and loose (in a good way, I hope). It's short, so listen twice!
The Fourth installment by The Olivers, my band with Afroblanco and a few other guys. (Previously 1, 2, 3.) This is another fairly earnest pop-rock song that we think is pretty hot, but without your opinions, we have no real way of knowing, now do we? We thank you all for any thoughts or suggestions you might have.
By drowsy, my one-person band. Pop music with autoharp and drum machine!
The first song off of The Olivers' EP Cleveland Panda Rampage, though the third one to post. (Previously (1, 2)) Afroblanco and I play in a band together. This is a song, well, not about the noble '80's director so much as inspired by his cheesy yet touching brand of passionate sincerity. As always, we want to hear from the people/spambots. Especially the spambots. Thank you.
Another one from the Retrospective. Written when I was 15, I always considered this song to be a more or less blatant ripoff of Lush's “For Love.” The original lyrics were even more painfully awkward than these are, and I was stuck for years on how to improve upon them, but desperation finally took precedence over inspiration: I was literally scribbling them at stop lights on my way to the studio. Not a creative high point, then, but the production is among my sharpest. To their credit, the Science Park line-up of that time made a huge impact.
This is a live version of a song I did with Video, a band I'm no longer in.
In the late '90s, I was the main guy behind an electronic art-pop band called Science Park. After suffering a nervous breakdown in the winter of 2000, I disbanded the group and retreated from the music industry for six arduous years. Now thirty, I've just issued a 15-year retrospective of my life in sound and have re-committed myself to my life's work with a raft of new projects. "Ascension Island" was first issued on a Japanese 7" single on Motorway Records in 2000, and later on my album Disinformation (Obscure-Disk). A tale of love, espionage, and violence always just out of sight, it features my trademark drifting electronics, shortwave radio interceptions, and cool, clean singing. Enjoy.
Okay, so that's not me singing or playing the guitar. But it's the first song I ever wrote. My good friend Sarah Kenvyn then did a bit of a rewrite, wrote some music, and recorded it. Thanks, Sarah!
The second song to post from our new EP. (Previously) This is my band with Afroblanco and some other guys. We're called The Olivers, and are giddy for your comments, snarky or otherwise.
If I was to describe this song with sarcastic overtones, I would say this is a regular run-of-the-mill ageispolis techno song. Well, it's not. This song is anything but typical of what I usually produce. Vocals, emotion, melody, structure... christ, what's gotten into me!?
So Afroblanco and I have a band together with some other guys. (I am on guitar, he on doumbek and other percussion.) Here is the first of a few songs to come over the coming weeks. Cheers.
A slow bouncy pop song from my old band, New Blind Nationals
A bouncy pop song from my old band New Blind Nationals. This song always reminded me of The Promise Ring
Here's an unfortunately prescient political power-pop tune I penned in '02, as recorded by Detroit's own rock foursome LISBOA at our (then) modest home studio in our first collective foray into DIY recording. RIFYL: The New Pornographers and dudes/lady-dudes in that vein. Honky tonk piano (emphasis on the "honky"), a Hammond, some e-Bow, a little vibraphone, and a few too many "nah-nah-nah-nahs," but whaddya gonna do, right? Hope you dig it, friends.
True story. Kid owes drug dealers money, so he tells them his aunt is on her way home from cashing her tax refund check. She is gunned down on her porch in front of spouse and kids.
The Archers of Loaf meet the Bay City Rollers in this humble contribution to the grand tradition of cheeky break-up tunes. Terrible puns abound, but you've been warned. From LISBOA's 2003 EP Either Origami, available here for five lousy clams. Crank it up, friends.
These are the greatest days, and this is optimism rock from The Forget.
Putting the "b" in "subtle," Detroit's LISBOA pens a political power-pop tune that pulls no punches. Alliteration is always awesome. Sounds like: Kansas City's best (i.e., only) Cheap Trick cover band meets Propaghandi at an after-hours bingo parlor. In drag. Dig the horns, dudes and lady-dudes.
Another slice of power-pop rock from LISBOA's self-produced 2005 LP Live from the Grand Hotel Abyss [iTunes link], with a title indirectly inspired by a mefi thread of all things! By the way, you should totally pick up a copy of the mefi compilation CD: it features another track from LISBOA as well as a bunch of great tunes from some genuinely talented mefites, too. Plus, proceeds go to, you know, the kids.