Tales From the Blue Machine

Concept and analysis

In the summer of 2018, I decided to put together a compilation album of my best, and most recent work. I didn't want the album to include just my favourite tracks, I wanted it to include, also, those that I thought had come through the recording process with the best production. I'm not a trained audio engineer, and home recording isn't always straight forward. I certainly wouldn't say that I struggle to get the sound I want, but, for a number of reasons, some tracks definitely come out of the mix better than others. So, the 16 tracks I finally chose were, in my opinion, pretty close to what I considered 'studio' quality...as well as being among my top favourites.

I'd just composed and recorded the opening track, 'Pepper Tree Zen', so just had to include it on the album. Its retro electric piano refrains still give me butterflies when I hear them. 'Once Upon a London Moon' was recorded two years earlier, and although it, too, features electric piano, it is more contemporary in its feel, and includes trumpet and strings. 'We Are Hong Kong', started life as a simple ambient work, without percussion or bass. However, after experimenting, I decided it would probably benefit from a dedicated bass line. Drum machine parts were added shortly afterwards, as were a collage of noise and sound effects, turning this into one of my most remarkable tracks. 'Night Flight From Electro City' is a much older composition, having been recorded five years earlier. With its muted trumpet, brass, and jangly piano, this jazz-tinged chillout number remains an all-time favourite. 'Dark Ferris' is my take on an alternative circus/carnival theme, its mish-mash of swirling organ sounds reminding me of frenzied, runaway fairground gallopers. 'The Eighth Tower' is a slow, synth-based composition, reminiscent of early Gary Numan or John Foxx. 'Exoplanet', is a rich, space-themed soundscape with a five star film score rating. 'Ocean City Groove' feels way too cool for its own good, and the 'Girl From Pacific Palisades' oozes a smooth, vintage-like mood without being overtly, in-your-face, jazz-orientated. 'Pleiades Star Glider' has a soft, chillout feel, its ambient electric piano complimenting the track's upbeat percussion and bass guitar. The next track, 'Incident on Cyprus Boulevard', continues on from where 'The Girl From Pacific Palisades' left off, but with a more urgent rhythm and beat. 'Saturn-by-the Sea', stands out as a psychedelic romp along the shores of a vintage British seaside, complete with acoustic and electric guitars, trumpets, flute and sitar. The cover for the single release of this composition features the resort of St. Ives, with a few welcome guests thrown in for good measure. 'The Girl From Zeta Reticuli', includes an infectious tune, played by a reverb-heavy electric guitar, while the coda features a two-tone, Danelectro 12 string electric guitar. 'Space Tribe', although completely synth based, is actually an electronic adventure based around a rogue echoplex guitar effects unit. 'Moon Siren' was composed during the same month as 'Night Flight From Electro City', and combines a steady rock beat with much electronic wizardry and otherworldly voices. 'Moon Siren' was once described as something you might hear at a old 'Swans'' gig - quite the compliment! The last track on the album, 'Streets of the Sacred Heart', is an all-time favourite of mine, and is based around a free-form saxophone riff, combined with organ, bass and percussion - a poignant end to a tantalizing collection.

Instrumentation

• Korg R3 synthesizer

• Korg M50 synthesizer

• Korg Micron synthesizer

• Fender Stratocaster electric guitar

• Danelectro 12 string electric guitar

• Fender electric bass guitar

• Ashton 6 string acoustic guitar

• Boss Dr Rhythm drum machine

Finished product

The finished album was released digitally, as well as on CD, and has sold consistently well. A copy of the CD can be won by entering my monthly Pop Quiz. Album artwork was designed and produced, as always, by Toby French. The inner sleeve of the CD version features a photo of my instrumentation set-up as it was circa 2016. The album is a good representation of my work as it was several years ago - however, I believe I have improved greatly in my style of composing since then, and hope to put together a new compilation album in the very near future.