StaticNomad

Greetings, my envious Toastman.

Good review from you - sounds like a honest outpouring of what you really think, which is rare on this site.

Sure, the cello is quite versatile and there are more sounds that you can get out of it than you hear in this track.

"smooth grooves during the opening minute are really infectious."

Yeah - they are some very compelling, catchy riffs that are augmented by little cello extras, including some percussive spiccato playing. And some damn cool slides. It is a fretless instrument so it's good to take advantage of that feature. Not the same on guitar, unless you have a fretless one, which hardly anyone has (including me).

"queasy head-spin feeling that one usually gets listening to psychedelic music whilst really fucking high."

I don't get high but I know what you mean. Slides can induce a slightly queasy feeling.

"the higher strings in, a sense of tension is created."

Yes. I love that effected violin patch and must have used it in at least 30 tracks!

"And then the distortion..."

Indeed. The first sort of distorted thing you hear is, arguably, the organ. It's a fat sound. And then the cello gets distorted.

"you give us room to breath around the 4 minute mark"

Yes - nice to have a bit of a break there. Back down for a bit more steady chilling, backed by the heavy rock kits that are playing in a restrained manner. Some new, clean cello parts and then back up for a final bit of balls-to the-wall awesome. I was concerned about the transition into the final heavy section, thinking it might be a bit awkward but I reckon it's OK. The final section is hopefully a bit of a hard-hitting surprise. And rather minimal for me.

"I don't know many people who could make something so face blisteringly awesome with a guitar"

Probably can be done by anyone who really knows their rock music and how to seriously riff it up. Grunge was kind of my musical birth, back in about '92, so I'm quite familiar with it. And then I progressed into so many more styles, as you can hear from my many other tracks.

I really recommend hearing the following cellometallo (cello metal) track I made as it's better, more epic and perhaps heavier than this one. Again: no guitar, just cello doing all the guitar work. And that effected violin VST again, plus some cool electro stuff.

Nuance Is Futile

http://www.looperman.com/tracks/detail/176620

Thanks again,

Static Grungemad

Yo. Happy to make your morning.

Yes, there really is zero guitar anywhere in the track.

"I'd swear on a stack of bibles that that was guitar."

I'm totally with you and I would have thought the same if I hadn't made it. Here's how I believe it works: when you hear fat, distorted guitar, you're often no longer really hearing the guitar strings. What you're really hearing is the distortion. It can be used on other instruments but is most closely associated with guitar. Remember: cello is not wildly different from guitar, being a similar stringed instrument. So, all you have to do to get the kind of sound I've got here is put some cello parts through guitar distortion.

In this, I have used a mixture of VST amps (ie applying distortion to cello parts that were recorded clean) and my Boss GT-5 effects pedal for playing distorted cello live.

I'm not clever for doing this - I just don't think many other people are doing it though I assure you you can go totally badass with cello. Check out the virtuoso duo 2Cellos to hear and see them do it live (try out 'Voodoo People').

My cello teacher uses distortion sometimes and she gets many more strange sounds out of the instrument than I do. But she's been playing for about 35 years more than I have so kind of knows what she's doing.

"tempted to ask if I could write some lyrics to it and record with Sunny"

Sorry. I think it's mostly done as it is. And I'd need to know you better to consider doing any sort of online collaboration.

"I'm up to my earballs in songs to record as it is"

Good to hear. I'm struggling a bit with only a few to work on and they're not all going well.

Thanks for the thoughts and happy to be able to entertain you.

Hello. Yes, the intro is quite cool and chilled. A nice, gentle, skipping groove.

"off-beat nature of the cello"

It's a bit funky, isn't it?

Is it really too crowded around 3:00? That's where you can hear the powerful organ and one or two distorted cello layers. Maybe I need to improve the mix but I like it busy and heavy like that.

"4:50 onward it was perfect"

Yes - it's just one cello part and drums. Very minimal for me but it works.

Thanks for the thoughts.

Yo, PJB.

Thanks for checking my rather alternative blues out. Yes, it is is some very soulful guitar playing and I find I can essentially sing along with most of it, especially the most obviously lead type of parts.

"there's just so much crap blues being played under the blues banner as simple 12 bar regurgitated slush"

Yes. I never play 12 bar and have really only ever played it in live band situations. It's a great chord sequence but I also find it very limiting. I bet I could do something interesting with it but I don't currently feel the urge to try.

I'm not a big Tom Waits fan. I wonder if this sounds a bit too beautiful for his kind of vibe though now you say it, I can hear him doing something over this as there's a darker, moodier vibe present behind the guitar. All the same, I feel he might spoil it so I think I prefer it as it is.

Thanks again.

Thanks for checking it out.

I'm fairly sure cello is pretty damn rare in techno. Yes, no doubt there's some with added string parts but I mean techno where the lead instrument is cello (and multiple layers of it).

The mixing is decent here though I'm dealing with a lot of different elements and multiple cello layers and lots of drum loops so it wasn't easy.

"cello is also extremely noteworthy"

Thanks. Cello is hardly an obvious fit for this type of genre so I had to spend quite a while working out what might not sound out of place. I guess I wanted it to all sound futuristic and not just like a techno track with backing, traditional string parts.

"4:57 was an unexpected, and extremely well done switch to different themes and ideas. "

It is a big switch but I bring back so many of the sounds you've heard in the first half to bind it all together as a "continuation of a story".

I certainly could split the track in two but I prefer it as a lengthy techno epic. All the same, I do feel that it goes on a bit too much in the last minute or so so I need to go back and see how much I can bear to remove.

Thanks again.

Hi.

Sorry for the slow reply.

"it must always be surprising to build all this melody, it seems to be something very complex, but for you it must be a lot of fun."

Yes - my tracks are always quite complicated and contain lots of layers and details, automation, effects and usually lots of instruments. It is good fun working with all these different elements. I love adding lots of small details as I think it makes the listening experience much deeper and more enjoyable. And more interesting when you listen many times.

"it's awesome to know that you do all this on a computer, I'm still imagining that possibility"

Yes - just me, some instruments and software. The drum software is the most important element in getting this kind of heavy sound that really sounds like a very, very good drummer playing live.

"although it is a calmer moment, the energy is not lost, it is intense from beginning to end."

Yes, I decided to have a funkier, calmer section after a few minutes to provide a break from all the heavy intensity. And then it's fun to bring all that heaviness back and then go even heavier for the ending.

"The layers of the guitar are very psychedelic"

I didn't plan that but I make a lot of psychedelic music so it's not surprising.

"a heavy song and at the same time relaxing"

Is it also relaxing? A female friend thinks it's "sexy" so maybe it's heavy, fun, sexy, relaxing, intense and happy.

"It's good to know you're still here."

Yes - I say the same to you. I had forgotten about you as you haven't been on the site for so long.

See you around...

Brutal, toasted greetings.

I don't think I'd heard The Beautiful People before so went and checked it out and I think I can see a connection to the groove at 3:26.

"I've never heard anything quite like this"

Excellent. That's my aim with every track I make. First, to make something I haven't heard before. And then I hope some other people might feel the same.

"bluesy, ballsy and unashamed"

I like to think so.

"so much crazy fun that I can't really critique this."

Sure - I know what you mean. It's supposed to be such an overwhelming riot of sound that you're listening and perhaps not even thinking about technical details or whatever, just letting the badassery course through your veins. Hopefully you can't sit still while listening to this.

Let me know if you have any other thoughts once you've calmed down as I'm always interested to hear them.

Thanks.

Hello for the first time in a long time.

Good to hear you liked this.

"a great powerful mix"

That's good to know. I think it has to be if you want to make a really aggressive, dynamic track that smacks you hard in the face (in a good way, of course).

"there is a straight melodic drum pattern"

I'm not sure what that means. Melody from the drums?

"There must be a harmonic underpinning everywhere in music anyway and I believe in it"

I really don't know as I don't know enough about sound and music to comment with any accuracy.

Thanks again.

Brutal greetings, Mr Mahloo.

I make lots of psychedelic music so I didn't really think of this one as being especially psychedelic. Utterly badass is what I'm going for though, as it's me, I guess I can't help making it a bit psychedelic and weird.

I'm quite curious where these timing errors are so any details on them would be great.

It wouldn't be surprising if there are some as most of the instrumentation is made up of leftover, recycled, cut up bits of guitar and bass from other tracks. I spent a lot of time tidying everything up and tightening the drums wherever possible (without losing the insane vibe) but I'm prepared to do more if it would help.

" riffs are tasty with that bluesy influence"

Yes, I sometimes can't help getting a bit bluesy with my hard rock/metal playing and some of the recycled parts come from a blues track though I guess that adds an extra flavour not present in lots of metal (so does the swing groove).

The slide solo is fun. I've done so much slide playing in so many genres, including heavy tracks.

There's some nice slide in the following heavy track, which is probably my best ever heavy track. Not as mental as this one but still pretty badass:

Chasm
http://www.looperman.com/tracks/detail/172322

Thanks again and good to hear it got you banging your head about.

Sorry for the slow reply.

Yes, we've talked about EZ Drummer before. I actually have Toontrack's Superior Drummer but it also plays all the EZ stuff. Only about 3 drumkits used here and two are EZ ones.

Does the guitar here cover "most styles"? I thought it was mostly on the heavy side though I guess there is some funkier and bluesier stuff plus some a bit psychedelic and Eastern so I suppose that is a few.

Heavy indeed.

Thanks again, see you around.

Furious greetings, head-hanging sad shit bro, with your bullshit three ring circus sideshow of freaks.

First you got Trumped, then you got positively brutalised by The Nomad. It's been quite a week.

It's mostly the same sort of chugging for the first minute as the mental drummer progresses through his ape-shit nuts beats, eventually settling on a nice swing metal groove as the first "proper" riff kicks in on 1:20. I think the jaunty character comes from the swing vibe.

"3:00 alternate picking moment is delightful"

I think you must mean the distorted rapid bass g fill. Yes - a nice one there.

"3:23 Drum break seems to need something in the background"

I agree but I don't know what to put there. I wanted a comfortable break from any intensity before kicking into the funkier guitar stuff on 3:35 but you're right that it does sound a bit empty. I should go back and try adding something subtle.

"pretty happy music, while still being heavy at times."

I don't think of it as happy but certainly joyful and exuberant. I know there's only a fine line between joyful/exuberant and happy. Can you believe that my mum actually liked this track? Because of the joy. See my reply to Neo for more on that.

Yes, the ending is fitting and the most badass section - just what was required.

"way more up my alley than your past half-dozen"

It's just as well I don't work on commission from you to make music that you enjoy hearing. I'd get fired. You know it's mostly just my rocking shit that you're into.

Never heard of Volbeat.

So, a furious fist bump to the DTrump if he visits you. But watch out for dark-suited, earpieced types hanging around him. They might shoot your fist off.

The Evanator says the end is near.
The Evanator says we'll see Armageddon soon.
The Evanator certainly hopes we will.
The Evanator sure could use a vacation from this

Hot damn, Sloebro.

Did listening to this track explode all your valves? Maybe you shook them loose with all the headbanging at the end.

"Primus fell into a Vat of Van Halen and used Edgar Winters' towel to dry off"

An interesting comparison though I feel this one may be heavier than all three of those guys though I don't actually listen to any of them. Primus certainly is weirder and Edgar W much bluesier. There are actually some bits of blues guitar in here as this was begun with some leftover guitar parts from a blues track.

"You have a signature sound that you take with you on every track."

Damn, I hope so. Even so, I still have to make the track good. Distinctive but not very enjoyable isn't good enough.

Yes, awesome heavy ending, giving the track the conclusion it was crying out for. Yes, this is the heaviest thing you've ever heard from me. Let's hope I can sometime go even heavier.

This year has been all about the cello for me as I've made loads of music with it, taking in loads of genres. Here are some highlights for you to inspect:

Cellometallo:

Nuance is Futile http://www.looperman.com/tracks/detail/176620

Grooving psychedelic cellout:

The Warm Glow Of Yesterday http://www.looperman.com/tracks/detail/176476

Cello hip hop, jazz, rock etc:

Everything Where It Should Be http://www.looperman.com/tracks/detail/177063

Psychedelic, Eastern, dark dance/jazz/fusion:

Navigating The Neversphere http://www.looperman.com/tracks/detail/177970

Psychedelic techno cello:

Dangerous Spaces http://www.looperman.com/tracks/detail/180406

Psychedelic Eastern shuffle blues (no cello):

The Mythical Gates http://www.looperman.com/tracks/detail/177482

I've made other tracks since you've been on here but those should do for now.

Take care.

ExCruciatingly brutal greetings.

Good point about the snowflakes and pronouns. We've never talked about it but I actually think about that annoying subject quite a lot and have been following the case of your fellow Crunadian Professor Jordan Peterson with great interest. See him defending his refusal to capitulate and be forced to use made up pronouns here (and in many other videos):

Genders, Rights and Freedom of Speech
https://www.youtube.com/watch?v=kasiov0ytEc

Chubby Checker may well have fisted the night away but perhaps just didn't sing about it. I don't think Elton John was singing "Yeah, I'm totally gay" when he was married to a woman in the 70s.

Anyway, back to the fist bumps, which are much more fun.

Good decomposing grandmother joke. For that you get as many drum hits as there are in this brutal track. So, about 10,000.

"BTW 3.25 reminded me of something New Wave or Van Halen like with the drum tom solos. "

Perhaps though that section probably is a bit too open and needs a little something else (bass?) to go over the top, as pointed out by The Evanator.

"I was Banging my head by the end of this and I loved the ending. "

Good as it deserved that extreme ending. I had to take it even heavier than before and I managed it.

Brutal Primal Nomad, brutalising Crunadian ears primarily for the fun of it.

Yo, Mr Metabolic.

Good to hear you liked this though it's not surprising as I know you love your heavy shit.

I didn't think anyone would notice/mention those early ride hits. Just a bit more activity on top of some unspectacular, simple guitar and bass riffage. First minute is all about getting rid of that riffage and progressing drums into full, banging swing mode, taking in blastbeats along the way.

"I get the feeling a Stoner, who managed to bypass the lazy effects, got a boost of confidence and thought fuck it, I'll be me, come at me universe. "

That's a very interesting and intriguing and somewhat far out sentence. Are you saying I'm normally lazy with my use of effects? I'm still using reverb and delay and stuff here but no doubt in a more restrained way than usual. Yes, it does sound like it has more balls and as though spacey effects aren't needed. Not when there's this much power on display.

"So much happening, yet very cohesive."

Thanks. I had to work really hard at that as the track had been sitting on my hard drive for years in a crappy, messy, overly loud state. So much trimming and tweaking and crossfading between bits of chopped up audio (ie guitar parts).

"The drums just get better and better, jazz/heavy metal."

Yes, I think the jazz connection is simply the cool, swing groove. I think you can dance to it.

Yes, mental ending. I just had to take things up another level and really go out with a crazy blast. The track deserves it and I'm wondering how I can make stuff go even heavier and madder without getting totally out of control. Something to work on in my next heavy track, though I don't really currently have one on the go.

I'll try to make more tracks like this but it's not my main sort of style so it might be a long time before I make anything like this again.

Thanks.

Brutal greetings.

You initially confused me with your Hogan Howe reference. "Who the hell is that?", I thought. Then I worked out that you mean Bernard Hogan-Howe, head of the Met Police in London. How do you know about that guy? Is he well known in Texas?

Anyway, yes, I may end uop being arrested for excessive drum brutality. I am willing to face my punishment and make no apology for such a criminally insane display of thunderous, swinging metal madness.

You're totally right about the super-human drumming as that's exactly what some of it is. Multiple kits are often playing simultaneously though if you listen to just one of those kits, you'll find that one drummer would not have enough limbs to pull off that playing, eg when the toms are banging away there's also hats and crash, kick and snare so probably sometimes 5 or 6 simultaneous hits. The drummer would have to attach sticks to his head and dick to manage it all.

"the guitars aren't to be overlooked"

That's right - never overlook the guitars in a heavy track containing only bass, drums and guitar. My main guitar regret is the lack of a continuing solo around 2:27. There it sounds like a cool, high solo should happen but it doesn't, instead just fading away. I should probably go back and try adding around 10-15 secs of soloing there to make it feel complete.

Yes, this track should probably have a high Looperman brutality rating and warning. Imagine if small children logged on and listened to this. That could be very dangerous.

End riffage around 4:40 is just a return to my previous "chorus" riff, which is easily the best one in the whole thing. That's why you hear it many times.

This may be unsuitable for dead grandmothers' ears but can you believe that my little old mum actually likes this track? She mostly likes jazz, classical and choral music, nothing heavy or aggressive whatsoever. I gave her a lot of warning about how brutal and intense it was but she was amused by the title so said she'd like to hear it. I said I expected her to hate it but she instead like the exuberance, the joy and the swing. "Sorry to disappoint you", she said, as I was surprised she even listened to the whole thing. Mother's metal!

I'm pleased she liked it as I think it shows that, for all its power, it still has some melodic merit and some cool grooves. It's fun brutal rather than evil or depressing brutal. I don't make that sort of music and always look for cool grooves and melody and stuff.

Superhuman Swinging Nomad

Regreetings, Davy Crucket.

Empathic Blowhard? What's that supposed to mean and how did you come up with it?

"VD is the Clap picked up from multiple percussive elements"

That's a very oblique and cryptic percussion reference. How could I have guessed that?

No fuckin' way - you're now sending me Celine Dion links! When you said Celine, I thought: "No, surely The Cru Dawg ain't sending me Celine Dion videos. Must be some other Celine".

I watched a bit of them and, amazingly enough, didn't like them. Why didn't you just tell me about Lindsey Sterling separately? Yes, she sounds good though I'm sure there are loads of great violinists about. Not something I know much about. I don't know much about the cello world either.

"To me the cello is the most expressive instrument"

I don't really know what is, apart from the human voice (though mine expresses an inability to hit notes or have any decent tone).

If we ever meet, I will Crubake you for at least 45 minutes in a preheated oven. I shouldn't think it'll do any good, though. You'll still probably taste disCrusting.

Static Ovenmad

Hi.

No, this wasn't inspired by Blue Monday and I didn't think about it once while making it. Or until you mentioned it. However, I am a massive fan of that song. Does this really sound like it? I'm not hearing it. Something to do with the bassline, no doubt.

But there are so many changes in this one. Which section do you think sounds like Blue Monday? The first minute or so?

I have another, very different track that does actually remind me a bit of Blue Monday in the second half (because of the bassline) when things start to get uptempo and then a slide solo enters. Check that track here:

A Little Bit Of Infinity

http://www.looperman.com/tracks/detail/164118

Good to hear you enjoyed the track.

Thanks.

Damn, I had to work hard at those transitions as this was a pretty difficult track to make. I spent ages having loads of different sections sitting around on the timeline, not having a clue how to connect them.

Some of the sections I didn't manage to get in here are now leftovers to be turned into other tracks.

Yes, cello can be pretty far out, haunting and eerie.

There are also some pretty cool, eerie cello sounds in these tracks:

The Warm Glow Of Yesterday

http://www.looperman.com/tracks/detail/176476

Love Fades

http://www.looperman.com/tracks/detail/179671

Thanks again.

Perhaps sometimes but I prefer longer ones.

Good to hear you found it awesome.

Friendly
Nomad

Greetings, Mr Swindla.

Thanks very much for the support and appreciation. It is appreciated.

"i always love the layering that comes out in your tracks."

It's a huge part of what I do, partly because I have very little idea of where my tracks are going a lot of the time so I just try to jam along and add parts that I find interesting and which might fit.

Layering creates relationships which I rarely imagine in my head beforehand. There are always surprises from how different sounds interact so I try stuff and see what works and what is detracting from the track. I often seem to make melodies just from the interaction of different jammed parts. So, the melody seems to be spread between a few instruments rather than all coming from one instrument. I'm good at grooving along with different instruments but not as good at coming up with lead melody lines.

" I can't wait to hear what else is next in the world of the StaticNomad."

That's good to hear. Next is more cello-dominated tracks. I'm teaching myself how to play just by recording it a lot and seeing how it comes out and what other techniques I can use to add to whatever I've already recorded.
I have a whole bunch of cello tracks right now that aren't really working as I'd hoped.

They're frustrating me but this has happened many times before. Eventually I make some sort of breakthrough and everything (mostly) turns out just fine. But I always wonder if any particular track will be one that I just cannot manage to turn into something good and complete. There's no way of knowing.

I also think I should get back into my other instruments (eg guitar) as I think I might have been going a bit too cello crazy in the last 8 or so months.

Thanks again.

Greetings.

Great to hear you found it so cool.

Yes, I think it is quite forward-thinking and futuristic. I'm guessing that it's the drums that you found retro. Perhaps they're reminiscent of some 90s dance music. They're probably quite old drum loops so that makes sense.

"it works excellently on it's own"

That's always the aim. I'm sure my stuff could be great for soundtracking all sorts of visuals but the aim is for people to enjoy listening at home in an album kind of format. Some tracks might work on a dancefloor though I'm not really sure as I've rarely tried doing that.

"a really good balance of complexity without being overbearing."

Yes - I like to make stuff buys, complex and interesting but there comes a point when you realise that adding yet another layer of sound isn't going to help. Saying that, sometimes I've got a few cello parts going and think "That'll do" and then I, just out of curiosity, try playing something else over them. And then that new one locks in with the others and adds something worthwhile.

How many layers is too many? There's no real answer to that.

To stop things being overbearing I also usually try to have some lighter, more chilled out sections, to break up all the intensity.

Thanks again.

Hello.

This is indeed a pretty wild and crazy trip. I love layering more and more sounds together to create something really fat and complex, with loads of twists and turns.

I guess the forward drive comes from all the banging drums. A solid groove is the essence of all my music making and instrument playing.

Thanks again.

Yo.

Shitloads of cello here, and in yet another style for me, which is surely a bit of a progression.

"the techno groove and especially how you chugged to the beat with the bow there"

Yes - that bowed chugging is called spiccato and I think it's really funky playing along with the solid drum loop and synth arp bass. Cello does not obviously go with techno so I had to spend a while trying out loads of things. This was, at many different points, really quite difficult to make and I'm not done yet as I agree that it's probably a bit too long. I will go back and try to remove some sections from the last 2 mins though it may not be a simple task.

Thanks for letting me know about The Green Children as that band looks quite interesting. 2 Cellos I know very well and they are up there as some of my favourite musicians on the planet. Their skill and accuracy is exceptional and I swear they rock as hard as the very hardest rocking of bands anywhere in the world. Their cover of Voodoo People is totally badass though they don't actually play it as a techno cello track - it mostly sounds like a straight ahead rock song. Live it's just two cellos plus a drummer so no techno elements.

I went to see them in concert a few months ago in Greenwich, in London. They were playing in a very picturesque location - the Old Royal Naval College. They both studied music there and their cello teacher was in the audience. The building has some serious history and has been used in loads of films, some of which I bet you've seen (Patriot Games, Bond films, Tomb Raider etc). Have a look at their full list here:

https://www.ornc.org/past-features

Good to hear you enjoyed my techno cello explorations. More cello tracks coming soon...

There Cru was just a-walking down the street, singing Cru-Ah-Diddy-Diddy-Crum-Diddy-Doo (over the latest hit song by Mr S. Nomad).

The opening synths do indeed have purpose and it's a simple but effective bassline. No cello until 0:28 and it's certainly not vocoded so perhaps you're mistaking synths for cello before then.

"beat at :46 has a groove with the strings sounds like Amish disco"

I like the idea of Amish disco. Probably no synths in Amishland. I presume they also have no computers so probably don't have fat beats like these. But acoustic cello would be allowed. Do they drink cider? Possibly.

"keeps building in intensity."

Yes - often a key feature of my music. 1:54 it gets somewhat Eastern and heavily psychedelic. And sort of trancey.

"Less psychedelics and more sub bass as we break it down with that groovy beat."

Yes, at 2:54 there's a move away from the intense, heavy psychedelic stuff to something more chilled and spacious, with the groovy bass coming to fore. Got to provide some variety and give the listener a break from intense stuff.

Lots of layered high string stabs as that section progresses. Might even be 7 or 8 cello parts as things get more intense around 3:56.

"percussion style on this song has a few layers"

Yes - loads of drum loop layering that's related to what you do though. Not sure if you've influenced me (a bit?) as I layered drum loops long before I'd heard of Cru.

"second half is like a cranky creepy cousin just waking up from a 2 day nyquil"

Good to have a breakdown and get rid of the drums and then build everything up in a different and intense way again. 2nd half is very different from first but uses many of the previous sounds and instruments so there is hopefully good continuity.

"7:15 on with those string phrases reminds me of Morocco"

Didn't think of that at all when making it but I think I can now see a link. No idea why as I'm not playing anything Moroccan. Just very simple bowed cello notes. And then a cool funky high cello lead arrives at 7:38 and gets seriously embellished, with more and more layers being added.

"thought the build up was going to lead in a wicked guitar solo"

That would totally have fit but I'm playing very little guitar these days and seriously focusing on celling it up and using it as much as possible so never considered adding guitar.

"it went into synth farts instead"

Good synth farts, I hope.

Last couple of minutes is probably too long and needs to be edited down but I thought it might be your favourite cos it's banging dance music, with fun squelchy synths. Aburpt ending should be better but I tried lots of things and could do no better.

Yes, it's a dangerous, mystical journey but where is the venereal disease? Did you pick up some genital warts when you travelled through Morocco?

Static Squelchmad.

Hello, Mr TWeed.

What I have been up to for the last 8 months or so is mostly cello playing and making tracks out of that cello playing as I try to learn a new and difficult instrument. I've played very little guitar (or other instruments) all year.

"no deep observations from me tonight (is there ever)"

No, there probably aren't often many but that's up to you. People only give what they want to give and are capable of giving.

I am morally/ethically compelled to give comprehensive reviews as that's what I hope for from others so it would be hypocritical to expect/hope for that but not do the same myself. Do as you would be done by.

Good to hear you liked it and enjoyed the flowing river of cello.