New Songs/Album (CABLETOW)

So it seemed that many of you had really liked my previously posted ‘vocal’ or ‘rock’ songs, which, to be honest, very much surprised me. As such, I’ve decided to compile the most recent of these into one full, and easier to access, album. It’s called “Cabletow”, a term that my masonic tumblr brethren will understand the heavy importance of. It’s ten songs long and over an hour in running time. The album art is the image above.

To download the album, click here: http://www.mediafire.com/?aqyonv59xkcvx7i

I’ll likely repost this a few times over the week incase people miss it. As always, it’s totally free and all for you, so enjoy (I hope).

1. Electrica (Track 1 off of Electrica)
2. Water, Blood & Lead (Track 2 off of Tears)
3. Cabletow (Track 1 off of Holidays)
4. Croix (Track 3 off of Holidays)
5. Marrow Diamonds INRJ (Track 3 off of Protection)
6. Part Two (Track 3 off of Electrica)
7. Telephone (Track 4 off of Malibu)
8. Everglades (Track 3 off of Malibu)
9. Ash Palet (Track 1 off of Mewtwo)
10. Memory No. 2 (Track 2 off of Cardigans)

I play all of the instruments on the album, as well as the vocals.

Here are some songs from it (and other albums from which it was compiled):

‘Telephone’ - Swimmingpool The Band

This is the final track off of Malibu. Like Everglades and Electrica before it, it’s another example of my experiments in the realm of more structured, near rock (or, post-rock a la appleseed cast) and I like this one even more than Everglades. There’s a subtle drum beat that crescendos with the rest of the song. Layers of guitars and keys are dumped over each other and it builds into a dénouement of drone and ambience.

I really hope you like it. This one kind of came out of the blue. Some of the touches towards the end with the more ethereal vocals dug into the far background make me quite proud of it.

“Everglades (Swamp Light)” - Swimmingpool The Band

This is similar in a way to the recently posted Electrica (and Part Two) in that it has, at times, clear guitars, structure and vocals. It is, however, denser, and as a result of this, it ultimately makes it sound cloudier at times. It flushes and, I guess, flexes as a large and heavy song (not deep heavy, but if you wanna take it that way, be my guest, I just wont tout it as one).

There are only two vocal tracks that loop over each other as if to imply a larger chorus of voices. The rest is guitars, keys and a small bit of heavily processed violin. The vocals took a while to perfect (I kept missing cues and going out of rhythms or tune).