I decided to work on finalizing these 3 tracks I have been holding onto since last year before WB started. I probably could’ve written 4 songs with how long this took me to mix this week, but I have been in a bit of a composing rut. Each of them are pretty cool!

I also spent a hot minute making the video. I didn’t think I’d get it done. The second song I had to manually play each rhythm into midi because it’s all sample based. Oh my gosh making this took so long. Maybe 15 hours for the video alone.

0:00 - Copper Roadkill

• Idk wtf to call this song. I also don’t remember anything about the mood or mindset I was in while writing it. I love how floaty it is, and the breaks inside are probably the most creative I’ve been with programming drums.

2:59 - Somewhere Sweet

• A collection of recordings of me playing prepared piano, my orchestra piece Oobleck, and my friend playing saxophone (same friend as my Passionfruit song the other week)

6:38 - Rave of Time

• Pretty much all Chrono Trigger sounds, but the fast pad is one of my orchestra pieces!

Would love to hear anyone’s thoughts on things they might change. You can buy the M8 bundles for $5 here if you want to support my music :) https://evanericksonmusic.bandcamp.com/album/caricatures

WM people, start at 6:38 if you only want to hear one song to keep things fair for the listening party.

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I present to you an 808 driven d&b tune. I realized late in the week that I was a week early for 8/8. The title is a nod to mechanical nature of drum machine grids.

This one started on the MPC. All the percussion was sourced from there. The call and response synth leads are MPC synths. The bass is also MPC crafted. I bounced stems for sequencing in Logic. There I added some swelling chords with the gforce OBEZ vst and then fat fingered a little key workout thing with an e-piano from Dexed to add a dash of DX7. A couple of one shot samples were added for the risers and for a little diddle to make the outro a bit less dry.

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Broken record, this was another shit week, punctuated with extra shit when basically everything I'd been working on music-wise for this week and the RMR Discord challenge got eaten by ... either bizarre equipment error or my apparent stupidity ... late Wednesday night.

And the RMR Discord Challenge was due Friday night, so yeah, this track was made in a few hours on Thursday and Friday. At least I had the weekend off, sorta? I dunno. Anyway, yes, bad week, but enough bitching, onto the challenge.

First, you can see the stream here:

RMR Discord Challenge July 2026 - Odd Time Signatures

RMR = Read Means Recording, and Jeremy runs a fantastic YouTube channel and discord and is an amazing teacher. I help out organizing the monthly discord challenges, and the challenge this month was "Odd Time Signatures" - at the very least, something not 4/4, but moreso time signatures atypical to the genre of the music you are making.

Originally, I was working on some classic 90s trance in 6/8 and it sounded fantastic - it had this great and weird groove that really, really emphasized the effect of trance-gates and the percussion and I loved it and then poof, something happened, and I lost the whole week's work.

So with ULTRA FERRET I present to you some very hastily-made industrial electronica in 6/8 on the M8. The mix is smashed to fucking hell, filthy and disgusting, just like me. 6/8 actually sounds ... just fine for this genre. Which is weird. FYI, there are slight adjustments between the RMR stream version and the WB version, just cuz I had five mins to fix two things today.

Anyway, yeah, the mix is disgusting, it's loud and gross and about 3 mins long. Have fun.

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M8 plus additional effects with SuperMassive.

I thought I would try making something a little space-y.

I also tried getting cleaner effects with SuperMassive.

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All created on the OP-XY. The opening sounds are are a manipulated field recording of wild birds believe it or not.  The rest are custom patches created using the internal synth engines and fx.

https://www.instagram.com/p/DbhkzO1pK8m/

Above is a link to me feeding the OP-XY into an app I can sequence the video also with my OP-XY whilst it plays the song.  Very cool.

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Just a lil thang. Hopefully you're seeing a newer version than the one I'm posting here

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This week was incredibly difficult and exhausting. Even though I dedicated a lot of time to this track, I found it unusually hard to write, develop the ideas, and give the music any real sense of direction.

It was the first time since I started WeeklyBeats that I truly felt blocked. The lack of inspiration, combined with the pressure of the deadline, made the whole process much heavier than usual.

The original idea was to create a deep techno track, but somehow everything went in the opposite direction. At some point, I completely lost the thread of what I was trying to do. The track became a collection of ideas that did not always seem to understand each other, and there was definitely some desperation hiding inside the creative process.

The hardest part was writing the lead and finding a rhythmic grid where it could properly exist. I kept changing it, moving it around, rewriting it, and trying to make it belong to the rest of the track. It became incredibly challenging and, honestly, quite frustrating.

I think all of us go through this kind of process occasionally. Still, I have been feeling so inspired and happy with my recent work that I did not expect to suddenly find myself in this place.

Maybe I need a short break from these heavier styles so I can reset, explore something different, and find my centre again. Perhaps I should spend a little more time with my chillstep and psydub project. I am also working on an album that I hope to release before the end of the year, so maybe that is where some of my creative energy needs to go right now.

Anyway, here is the result of a track born from creative stagnation, too many disconnected ideas, and a mind that had already reached its limit.

The mix itself did not turn out too badly, but I am still not completely happy with the way the lead sits inside it. To me, it feels slightly detached from the rest of the track, as if it belongs to a different version of the song. But at some point, I simply did not have the mental energy to keep fighting with it.

Sometimes finishing a track is not about reaching the result you imagined. Sometimes it is just about accepting where the process took you, letting it go, and moving forward.

I hope you enjoy this strange and confused little journey.

2026 Copyright All rights reserved

The legend is back.

Tempo: 96

Key Signature: D Major/B Minor

Time Signature: 4/4

Made using 1x LSDJ: only the PU1 (Pulse 1) and NOI (Noise) channels. Exported using GB-Presenter.

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As I was listening last week to some of the beats, I was struck by the beautiful saxophone playing that Jazzaria delivered again. He kindly agreed that I could use his recording to make some samples, which I did. Thank you again Jazzaria!

To be totally honest, I feel a bit bad. I did take the recording and then cut it aggressively, distorted them, pitched them, and transformed them just like AreaX would do into a mutated clone. When a saxophone is not a saxophone. The organic feel and sounds of his recordings were so inspiring to capture the full glory of The Tyrant, a huge alligator that inhabits the region that would later become AreaX.

So this is another track inspired by the Southern Reach serie, this time the 4th book Absolution, Old Jim story and investigations into The Tyrant and related phenomena, and probably mental distortions that resulted of his time at Central. I am happy with the sense of presence of the alligator and the huge very low ripples in the low frequency. You may not want to be swimming in the swamps. Could you imagine that there are things worse than rabbits down there? The piano is also inspired from that book as it plays quite a role in there.

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Marks my second collaboration of the WeeklyBeats 2026 year, this time with asking for permission before yelling over it.

Been having a really good time on live music practice and vocal practice.

Derivative work of All the Good Bits - DESLRV, used with permission.

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