A quick excerpt from a song from the B-side, complete with shots from test footage of a music video I was asked to direct. We shot on the RED One.

Interluder: Not much I can think of with this song. It’s an interlude, but it has an ‘r’. Key changes are cool if their abruptness isn’t to the detriment of the overall tone, right? Right? I feel alone here. Well, it becomes a more pop-electronic once it gets done saying what it wants to and…

The song then snaps right into “Swill,” a short, sugary mess of a diddy. It originally had a different back beat and melody, but it’s almost all still there with the newer, more refined version. A fine example of the notion that one should kill their babies, because there was a time when I thought I couldn’t make a better backbeat then the one that comes prepackaged. It was the reason the BPM is as it is (for Swill).

I uploaded a .GIF to soundcloud for its image, which it didn’t like. Here’s the original image for the song:

interluder + swill

All the songs get images. Actually, one song got an image, and is getting a video… more on that later.

This was made in memory of Freyja, the cat. She left us due to complications with anemia, due to an unnoticed infestation of fleas. The notion that her death might have been avoided has haunted me, and is something I am only at peace with by knowing that there is a new resolve in me to pay closer attention to the people and animals I love. The song is meant to be a little silly, paying tribute to the lighter aspect of her personality.

This was completed on May 23rd. This song had only one version, though looking back, you can always find something you’d want to change. Maybe a less repetitive bass harmony, or a more consistent vibrato in the bridge.

Seems like the most intangible things; awareness, a sense of loss, and also relevance, influenced the conception of these songs the most. Also, it should be noted that George and Jonathan were crucial to all of this. They are the PxTone gold standard, as far as I’m concerned.

Here’s a song that relies on its noise. Repetitive drums, with a break that reminds me of Ratatat. A little? Maybe?

Also featured: the juiciest harmony yet, though all too brief, at the end. Reminds me of “non-descript 80s movie credits”

As I composed this, I realized that there was an intrinsic property to the samples I was using that I had, up until now, neglected. This is the eighth composition I made (ever) so to discover the oscillation of the waves at certain pitches for .ogg and .wav files was a big one. Later I’ll play on this oscillation to match the tempo of the song, but for now I kind of winged it. PTNOISE and PTVOICE files have good consistency in wave oscillation at higher and lower pitches, so they’re pretty good, but it can be boring if you stick to only that, I think.

I intend to revisit this with real drums.

The next song on this list is a quick, rough one. The ongoing experimentation with song composition, in this case, was learning about panning audio. Heir was made mono, and this is stereo. Simple! Tried using more unusual instrumentation, jumping around with a melody, crazy rises, a sentimental breakdown, and a funny bass effect for the finale. This, like most of the songs, were made in a single night. It was finished on 2/20/12 at 1:08 AM.

This is the first song I created, using PxTone Collage by Pixel. It sets the tone, resonating with sensibilities from video games from the late 1980s, early 90s, and a dynamic reminiscent of classical canon, and fugue. I guess. Someone told me that, and I believed them.


Songs about decreased appetite.

Rubberrun Px
Barba Salva Px
Breaded Chicken
Catch Fire
Interluder + Swill
Out of Time
Scary Caring
The Fleet
Chakra Heaven
Wood Planck Star