Arcadedom.

Keyboards + drums + drum programming by Evan

Bass by Gage

(Exquisitely Awesome, Awesomely Exquisite) Main vocals + backing vocals + lyrics by Elaina G.

Recorded, engineered, mixed and produced at Worldwide International, Mute Records studios, By Paul Kendall, London, December 2004 - kinda, though not exactly, overnight, this one.

I think I may have also provided some dodgy stems by then, not sure.

I definitely remember playing all moog and most keys live at Mute's studios, and Elaina having a blast recording properly, and with someone who hadn't got it in for singers lol. This is not the 'Sugababes live' lol.

Yeah I eternally love simmons drums you f*ing bet ✌️

..People who crave the sound of authentic percussion don't really appreciate the power of synthetically manipulated harmonics. ..And they also get to 'unplugged' gigs in order to listen to accordions or trombones, by driving wheeled technology whilst smoking from vaporisers, so I was never sure of what the issue ever was, with percussive tech also improving the harmonic spectrum present within rhythm, which forever mystified the likes of Jung.

..Simmons drums ain't trivial.

This song previously was Demographic Number One, which we re-arranged like this cause we liked it as a home studio collaboration, with Elaina singing like this.

Another early DAW recording. Happy if it just didn't crash.

Keyboards + drum programming by Evan

Bass by Gage

(Exquisitely Awesome) Main vocals + backing vocals + lyrics by Elaina G.

Claps by all of the above

Original picture by Itxaso D.

Original picture by Caroline E.

This song was originally composed in 2017, in memory of my dad, who passed that year.

Original picture by Caroline E.

Though this track is a demo version, later mixed by Jerry Parsons, as part of a collaborative project now apparently licensed to BBC Radio England and BBC Continental Europe -cause I wouldn't know it from the royalties-, I like this demo version, as is.

For starters, I was never again able to get sine waves to feedback just like this, using a Roland Space Echo. The rest of the song but for the piano, came out of the first PPG Wave plugin I got hold of which also mimicked / incorporated the waveterm environment, so bass, pads, and drums all had an 8/12bit thing to them, which I further bitcrushed for good harmonic measure lol.

So even though the snaredrums sound like a scotchbrite on a frying pan, and if you don't like bright cymbals this ain't your song either, there's plenty other reasons I like this specific track as is.

I've always loved this track, like most things Ric Ocasek AND Greg Hawkes ever did, together, so gave it a go as a studio project only.

Ocasek himself approved of it a while after. Absolute legend.

Ric Ocasek was such a good producer and such a geezer, Weezer always asked for him. The Strokes seemed to agree too, from day one. Lol.

..I do do like The Strokes, and most of Julian's solo stuff is also just classic stuff.

And I do think Geoff did the right thing getting involved with them, even though I left that combo secret gig Gage and I got personally invited to, at Nottin' Hill Arts Ctr, back in 2000 or so -with the libertines, in lower case for a reason, cause there, I didn't agree at all, it's why I left early that night, lol- should Geoff ever read this - then again, why not, I was once also signed to one of his then main London labels, by himself, and that, had just seemed just so very unlikely, back then, too, for the longest time.

'Here lies Phil Linott, ..and why not.' SpTp.

Picture by Gage S.

Keyboards, drum programming - Evan

Bass - Gage + Evan (choruses)

Main vocals - Ben Woodhouse

Backing vocals - Helen Banham

Original song 'Heartbeat City' © 1984 by The Cars.

Experimental rework mix of Gage's Noah / Arpeggio, at J. Parsons' studio.

Jel - arrangements, mixing

Evan - keyboards, arrangements, mixing

2007, home studio, electronic version of EOF, a song Gage had originally composed on -self taught- acoustic guitar.

Featuring THAT Euphonix sample.

I also always wanted a song that featured the old Cubase metronome sound. This is the one.

I always felt the utmost reverence and absolute awe and respect for the Islamic scales, specially as used for the Islamic call for prayer, which also used to send me to sleep *in absolute bliss*, when I used to live in London's Finsbury Park, not 700m away from the Minaret.

This is the simple reason I sampled it. It is an *obviously ancient and sacred chant*, which should be a plentifully observable fact even for someone like me, who comes from a judeo-christian tradition, I guess.

Let's just say I've been into sound, as a phenomena and its characteristics, since I first had ears delivered. Like. what the f*ck's up with this weirdo. labgeek. into. sound. ..Gage used to say that my actual girlfriend was music. Maybe lol.

..And I'm pretty convinced that, were the human race to *seriously* study the acoustic phenomena us occidentals commonly, gingerly, and casually refer to as 'the Muslim call for prayer', half our current technologies could become obsolete, right there, for starters.

Oh look, a unicorn.

Lyrics + all original vocal melodies + additional backing vocals by Gage

Keyboards + drum programming by Evan

Main vocals + backing vocals by Elaina G.

2006, home studio, getting a tad electronic on a song Gage had originally composed on -self taught- acoustic guitar.

Lyrics + all original vocal melodies + additional backing vocals by Gage

Acoustic guitar by Gage

Keyboards + drum programming by Evan

Quartz-Like Exquisite Main vocals + backing vocals by Elaina G.