Tom Slatter’s Tournament Of Perfectly Adequate Demo Songs

I have written quite a lot of songs. There are plenty already recorded and released, but lots more just exist as rough demos.

Lots of those just aren’t good enough to bother recording properly, but plenty are actually pretty good songs that just haven’t found a place on an album.

I want to record some as singles, but there are lots to choose from. Therefore it seems sensible to have a demo song tournament to decide which I will record ‘properly’ and release as a single.

Introducing Tom Slatter’s Tournament Of Perfectly Adequate Demo Songs.

Here are the rules:

  • There are 8 songs. Loser in each bout will be eliminated. Most votes wins.
  • Anyone can vote and you do so by commenting under this post, or the facebook post, or the bandcamp post.
  • Votes from the members of the Immoral Supporters Club on bandcamp are worth twice anyone elses. I know who they are.
  • I can’t be bothered setting up a proper poll – I’ll just count the comments manually. Any mistakes I make are irrelevant – this is my competition. I am the referee. I reserve the right to make arbitrary and unfair decisions.

The eventual winner will become a properly recorded single, rather than a rough demo.

Want a double vote? You need to be an immoral subscriber then. Here’s a link for that.

First up: ‘Mysteries and Monsters’, a very old song lamenting the death of magic, and ‘Anything to Make you Mine’, an extremely creepy ‘love’ song.

Of course they are demos, not the finished article, so don’t expect perfect recordings or performances.

Have a listen to the video and let me know which you prefer.

Songwriting – Run

There’s a fictional band in The Hitchhiker’s Guide to the Galaxy called Disaster Area. Douglas Adams wrote that ‘Their songs are on the whole very simple and mostly follow the familiar theme of boy-being meets girl-being beneath silvery moon, which then explodes for no adequately explored reason.’

I obviously took that idea to heart, at least subconsciously because I’ve got several songs that follow a similar story. Set Light to the Sky is one of them, so is Satellites – Love songs set to a backdrop of apocalyptic goings on.

My new song Run is similar.

It’s a love song about two people holding each other’s hands and running from the end of the world.

It is also a pretty straight ahead rock song – verse chorus verse chorus, singalong bits, nothing complicated and nerdy.

Or is it?

Run was written in about twenty minutes when I was attempting to complete February Album Writing Month in 2017. I started at 9 o’ clock with the intention of having an entirely new song. Some time before ten I had recorded this:

The verses are in 7/8, the verses 4/4 and the verse has an augmented chord in it: F#minor D Bb Augmented, C#minor – so there are enough unusual elements in there to keep the nerdy muso side of me happy.

Did I decide at the start to use funny time signatures? No, not at all. These things are just part my palette now, I find them as natural as more common rhythms.

The song was pretty much an improvisation and it hasn’t changed a whole lot between demo and the finished version, except that it is now well played and has the guitars turned up.

It is part of a ‘double a-side’ because I don’t have an album for it to go on. You can have the two songs for whatever price you want, including free.

Thanks for listening!

My part in Dial by Shineback

Dial by Shineback is now out.

This track, Here I Am, features some of my guitar playing:

Simon Godfrey, the madman behind Shineback, asked me to play something ‘disturbing’ to fill the gaps in between The Wizard Ramsay’s spoken word performance.

Most of the backing track was already there and there’s not much that’s rhythmic in it. It’s all big ominous chords and drones. So it made sense for me to play something with a bit of rhythm to it.

I read ‘disturbing’ as an instruction to play odd notes. They’re not random though, I’m playing with a whole tone scale centred on D – taking advantage of the symmetrical nature of that scale to slide up four frets and play the same pattern again a few times. It’s only right at the end that I return to a nicer, more ‘in tune’ scale for the last few notes.

My original performance was rough around the edges – as I’ve said elsewhere I can’t compete with proper lead guitar players on technique, what I have is funny note choice.

I spent several hours trying to record a version that had the same idea as the original but was better played. None of them sounded right so I sent Simon the original rough version instead.

Thankfully his inspired processing and choice of effects disguises how badly played the part was.

Thanks for letting me join in, Mr Godfrey. Its a great album.

New music – Rubble and Dust / Run

Today I’m releasing Rubble and Dust / Run.

This double A side digital single thingie contains two songs connected by theme and by the fact that they’re the nearest I get to straight-ahead rock songs.

“Rubble and Dust” probably has the most prominent heavy metal influence of any of my songs so far, thought it isn’t full on metal. It’s a big singalong song about mad world-leaders bringing us all to ruin. Yes, I’ve accidentally made a political comment again. I didn’t mean to, honest!

“Run” is about love at the end of the world. It’s a rocky pop song hiding 7/8 verses and at least one funny chord to keep the nerdy muso side of me happy.

Both of these are my first attempt at mixing something rocky in my new project studio. Not perfect of course, but I’m very happy with how both tracks sound.

I didn’t write a review – Dial by Shineback.

I didn’t write a review for an album that I played a small part in:

With ‘Dial’ Godfrey at the height of his powers – a mature songwriter who really knows how to put together a good record. If you want rocky guitars, it’s here. If you want extended prog rock structures, you get them too. If you want synths and electronic drums you get those. Above all you get songs that really pay you back for multiple close listens. I’ve heard the album about five times and am still discovering new details.

Is it good? I’m biased of course, but yes I think it’s fantastic.

Read the whole thing here.

I wouldn’t write political songs. Or would I?

Mike Morton, chief jacket wearer of the band The Gift, said on twitbook the other day that he gets loads of reaction when he talks about politics online, but relatively little when he posts about music. This led to a discussion about politics in music, how political people like their music, the sense some have that political music seems to have gone the way of the dodo. A lively discussion was had.

More than one person made the well known argument that everything is political and if you try not to be you’re simply saying the status quo is fine.

My initial reaction to that was to disagree. I write songs that tell silly, horrific, or horrifically silly sci-fi stories. There’s nothing political in them, I’m not writing them to make any kind of point.

Which isn’t to say I’m not political, I am very interested in politics. I’m on holiday this week and one of the things I did was visit the houses of parliament for a guided tour. I listen to relatively nerdy political podcasts, read an awful lot of non fiction and am pretty much addicted to my list of political journalists on twitter. Politics is fascinating and I really, sincerely wish our politicians could be persuaded to get involved in it.

There are two things I don’t do. I don’t talk about politics on twitbook (doing so is pointless and just feeds the online rage farm that they sell to advertisers) and I don’t write about politics in my songs. Politics is complicated and hard to communicate and I am not certain about my opinions on any of it. An eight minute monologue of my political ideas wouldn’t entertain anyone (though Akala’s would).

But if everything is political, then there must be politics in my music, right?

Happy People, my last album, could definitely be said to be political. It’s about a near future dystopia in which individuality is destroyed by the state, where love is regulated and where the population are kept in the dark through propaganda. My intention when writing it was just to tell a story and sketch out that world, but it would be totally reasonable to interpret it as a comment on today’s politics, or see my political views reflected in it. Certainly my attitude to issues of the individual versus the state are similar (I’m not a fan of the state getting in the way of the individual – but please don’t interpret that as a right wing ‘libertarian’ viewpoint).

What about the older steampunk stuff? Any politics there? My Seven Bells John songs are about a criminal who redeems himself after being freed from a prison cell by a policeman. You could definitely find similar anti-establishment sentiments in there, and probably shoe-horn it into a lefty critique of the role of the police if you wanted to.

As I’ve said many a time, meaning in pop music isn’t communicated primarily through the lyrics. So what else is being said with my music?

It’s influences are those you’d expect of a lower-middle class white Londoner born in the 80s: lots of rock, hints of folk, ideas nicked from classical. The business model is decidedly indie and the musical choices speak to that as well. You don’t write twenty minute songs if you’re hoping for commercial success. The steampunk thing elsewhere tends towards nostalgia for an era that was decidedly unpleasant for anyone bar the rich (but then, that’s most eras) but I think I’ve mostly gone for the horrific or weird end rather than the flag waving nostalgia. All of those things could be analysed through a political lens, regardless of whether I had political intentions.

Does intention matter? No. Stuff can be political, even if the person making it doesn’t mean it to be.

In short there are lots of ways you could interpret my music. Even the very fact that I’m suggesting my music exists within a political culture would be considered extreme left wing nonsense by some with a certain kind of right wing view that sees only individuals and discounts the notion of cultural analysis.

I don’t try to write political songs, I’m not going to try to communicate what I think about politics online – ask me in person if you want. But yeah, I guess my songs are political.

Everything is.

 

Murder songs continue…

…we’re up to four of them now. Here’s the second:

The fact is, I have written quite a few songs about murder. Quite a silly amount. Like loads.

So it seemed a good idea to record some performances of them and, as we go, count up the amount of dead people. So far we’ve had 5 murders in 4 songs.

I certainly didn’t plan that by the third video I would accidentally include a picture of ‘fan’ Tony, or mention him again in the fourth video. Look, I don’t bear a grudge and I am certainly not started a feud with Tony. Not at all. not even slightly.

If We Cut All Your Wires (Lyric video)

I’ve just posted a new video over on the ol’ YouTubes. It’s a lyric video for my song ‘If We Cut All Your Wires’.

What’s that all about then?

Well – and stop me if this sounds a little self indulgent (oh no wait, you can’t stop me typing) – but this song is from an EP that happens inside another song.

My last solo album, Happy People, contains an instrumental track called Tracking Signals. The idea with this track is that our protagonist is flicking through radio frequencies, trying to isolate the evil government spy frequencies.

My new EP, Still Happy, is the music he heard while doing so.

If you would like a copy of the whole EP, download or physical, you need to join the band of reprobates known as the Immoral Supporters. You can find out about that here.

Thanks for listening!