JamuAn impressionistic painting of a bulldog resting his face on some flowery ground in a patch of sunlight.

This song is a tribute to my English bulldog, who is about eleven years old. That’s a pretty long life for the breed, and he’s definitely showing signs of age. One of his quirks is that he goes HAM when he’s having fun; the downside is that he has to deal with the consequences the next few days. Despite some health problems (we struggled with chronic pneumonia until we could find a combination of food and elevated feeding method that prevented him from aspirating it, and he’s had arthritis forever, and he had to have surgery for his ACL which helped but left him with a limp on that leg), we manage to keep his weight in check and the most pronounced change in his behavior is that he’s become a bit crankier in his old age.

Musically, it’s fairly straightforward in E minor up until the bridge. The flat-II pops in during the chorus for some color, and of course I grab the major V7 from harmonic minor. Once the bridge hits, we modulate to the relative major (G major), then really go out on a limb and modulate to the relative minor of the home key’s parallel major (e.g., we go to C#m, the relative minor of E major, which is the parallel major of E minor), before pivoting on a IV -> iv (in C#m, II -> ii in Em) to take us out of the bridge.

I recorded the acoustic guitar and vocals on the Zoom Recorder. The lead is an overdubbed acoustic guitar part. The bass is my Kala U-Bass, and the drums are courtesy of Superior Drummer. My favorite detail is that, in the fade-out tail at the end, you can just barely hear my dog snoring, since he was sleeping in the couch behind me while I was recording the guitar parts.

Continue reading “Jamuary 2024 Day 8: “Bully Boy””

A woman reading a book in an armchair, under two lights, one of which is a therapy lamp.

A little bit of a departure here: it’s instrumental, and all sequenced drums and synthesizers. In order to get a bit of a break on writing (there are no lyrics) and performing (there aren’t any live instruments), I decided to go with an electronic arrangement. The title is just a reference to this time of year, and a condition that is very common among the Seattle populace in that time.

Musically, it’s just in D minor, and harmonically it doesn’t stray very far from minor i, III, and VII.

A shot of an arm with a heart sleeve tattoo, right over a tattoo that resembles a woman's face.

This one is pretty self-explanatory. I just wish it had taken me less time to adopt this philosophy. Very early on, I was in punk bands in high school and a little unabashed in my creative output, but afterwards I started working alone and being much more shy about music that was purely my own. It’s very easy to hide behind humbleness or other ways not to put yourself out there, but it’s better to just make your art and not care about who cares. There’s a great Thought Slime video that goes into depth on this very subject that I also found highly inspirational. I could have even applied this lesson to this very song, since I spent way more time than I needed to when polishing it.

Musically, the song is fairly diatonic, except for the F (flat-VII) in the chorus, which honestly is more of a passing chord than anything else, and there’s a little walk-up in the chorus that also uses flat VI, but that’s even more fleeting.

This was a “weekend song”, as I began writing and arranging it in the afternoon, which took way too long (instead of doing something rational like using sequences to quickly create drum parts, I arranged the whole drum track from scratch). I didn’t get around to the recording work until 10:30 PM, which lasted 5 hours. I took an hour to mix but decided to sleep on it at that point because… c’mon, it was 4:30 a.m. Some final touch-ups and mixing on Sunday morning and it was ready to go. I recorded it in my studio and spent way too long. I used Amplitube via my Radial DI box for the guitars and basses, and recorded the lead and backing vocals using my SM-7B.

Continue reading “Jamuary 2024 Day 6: “No Time for Cringe””

A punk sitting down and playing a guitar made from a clock face.

When you are facing writer’s block, go meta. In this case, I was planning to take a day off until about 11:25, when I decided to see if I could write and arrange a song in a half-hour. I gave myself another half-hour to record the vocals and instruments (this included getting the studio set up, and the instrument recording, including time-wasting stuff like tuning), and a half-hour to mix and master.

Nothing fancy in here from a music perspective — just your bog-standard I, IV, V, and vi chords.

This was recorded in my studio, using my usual Radial Engineering DI box into Amplitube for the guitars and basses, and an SM-7B for the lead and backing vocals

An image of Thor holding a calendar.

Think about it… how many songs about Thursdays can you name (not counting Thanksgiving songs… which is another thing that doesn’t really exist, does it?). This song is about the worst day of the week or, rather, how the worst day of the week doesn’t deserve any songs.

Musically, this song just uses the diatonic chords, and mixes in a a flat-VII for fun, along with flat-vi at the very end. The a cappella opening is a reference to the NOFX song “Thank God It’s Monday.” I had originally planned to do a full punk rock version of this and finished 95% of the drum arrangement and base track programming when I decided to just go with a simple live recording instead.

This was recorded live on the Hohner beater guitar, using the Zoom recorder’s XY pair and a Shure SM-57 for vocals.