Good evening. It’s about time I told you where to listen to us again. Tonight it’s Spotify:
We have T-shirts. They’re on RedBubble, and are of each of our excellent album covers. If you like our music, you should get one and let the world know you like our music! If you just want a t-shirt by the most obscure, unheard of, band that will make you look cool just for knowing about them… we’re that band. Buy a t-shirt. Then buy the album. 🙂
Our third album, Space Cowboys Under The Sea Of Japan was released to the unsuspecting world on December 7th, 2015. Previously grunge/alt-rock, we expanded our sound with the creation of CowProg-SpaceFunk for these songs.
- Village Of Dolls
- Deep Within The Sea It Sleeps
- The Oyster
- Corrupted Tranquility
- Snow Bones
- Seahorse With no Names
- The Noise
- Fractions Of A Fish
- Electric Eels
- I Heard You Calling But Alas I Did Not Answer
- DogZilla Versus The Under-Sea Bass
(Yes, 12 tracks rather than 13!)
For the last few years. Since we reformed after our 13 year gap to record the 13EP (SoundCloud), with Dark Moon – the missing 13th track from the first album. We’ve tried to release the new stuff we’ve done on Friday the 13th. I missed the target this year (hands up, it was me). I could probably have done it, but wasn’t paying attention. Space Cowboys Under The Sea Of Japan will be out in December. You can stream it now from SoundCloud though.
We’ve already mentioned the 13EP, before that was the long ‘hiatus’ as musicians call it, and before that was HowManyDevils1 (on SoundCloud).
Of course, after we release the 13EP on Friday the 13th, we were blatantly copied by Black Sabbath with their album called 13. I do suspect they stole all our marketing effort which is why their album charted and ours didn’t. (Surely three men in their 40’s in Yorkshire would be more popular than 4 men in their 60’s from the Midlands). We took revenge though, by making Halfway There sound a little like them…
We’re onto the last track. Clementine. One of my favourite tracks on this album. A story of revenge, and cowboy type stuff again. With a laser. One of those tracks that we could keep adding and adding to to make it an epic multi part master piece, but is best left as is. A simple tune and story telling lyrics.
I recorded my little guitar part for the end separately at home. The rest of the song was all done at Pete’s. I think the vocals fit pretty well in this tune and it has a definite style about it. If we were getting a mini set together this would be one of the tracks I’d pick. This and I Heard You Calling.
Maybe cowboy grunge rock funk is our new style? Maybe it’s going to be the next big thing? Maybe we’re ahead of our time?! Maybe the next album will be totally different? Who knows?
Corrupted Tranquility. That’s the next track. It’s another song of two halves. First half is funky-tron. Second half is still funky actually, but also a bit more rocky perhaps? Personally I found this one the hardest to sing. We tried so many different singing styles (15 I think) and Rob chose the best for the final mix. I think it has come out well. The original idea came about from a little funk riff I played to Pete and Rob and it grew from there. The chorus sounds mellow and sublime. Again, bass matches the song 100%. The vocals for the 2nd half were improvised from reading unused words from ‘the pile’. I love the effects on the vocal at the end slowly building distortion. The ‘bit crunch’ on the drums brings everything to a head. Lovely build up. Everything works AND we use disgruntled, twice.
This is probably the most rock type track we have written. Very powerful. Very strong melody hooks. Brilliantly written and played solo section. Solid bass lines that lead and enhance the songs flow. I tried to write some lyrics to match the powerful style of the song and I think I managed.
I can’t remember what gear I used on this. Probably the Gallan Strat style guitar. Certainly the analogue phase and over drive. I think the vocals we used were the second maybe third take? I know the style changed slightly from the original recording. Whilst I was recording the vocals on the final mixes of these tracks I was trying to be mindful of my breathing. Listening back I think it helped project the words clearly and added to the power of the sound of them in general.
The drums slide along nicely and the marching type pattern for the verses contrasts the slowed rhythm of the chorus.
This song is a expression of bass riffs against a giant Dogzilla. We asked Pete to play a few riffs along to a couple of patterns. Mixed them up a bit and then added some effected recordings of Pete’s dog to the mix as Dogzilla. The idea is of bass defeating Dogzilla and saving Tokyo(?) perhaps? OR is it symbolism representing our darkest selfish urges (Dogzilla) being kept at bay by the relentless pounding of day to day life that moves and darts in different directions (the bass). No, it’s just bass versus a big dog monster.
Electric Eels is the next track from Space Cowboys Under the Sea of Japan that we’re looking at. This is another one of those random ideas that sprouted into a full track. Three basses at some parts. No real lead guitars. Weird lyrics that at first listen don’t seem to make sense. I tried to make them seem odd but (with any luck) if the idea is explained then the words start to come alive. It’s really an anti-consumerism song. About how everyone at some point is drawn into the thrill of buying stuff that is not important at the end of the day. How we put significance on things and objects and forget that there are people on this planet who have far less than ourselves and that if we took time to remember this then perhaps we wouldn’t feel frustrated that we don’t have an iPhone 26 or a BMW M62.
Musically this is the first (and only) track that we used my bass multi effects on. There is an over drive noise, a bit distortion and a didgeridoo simulator(?) in there. Also, we used the bass effects for some lo-fi vocals as well. Which I love! The drum patterns have some nice little noises and oddness about them. There some phased clean guitar on here (I think it’s the Dot I’m playing. Rob kept a log of which instruments were used for each track). Everything ties together really well. Weird song that is totally out of our usual spectrum, but works perfectly.
Of course we would write a track in 5/4. It’s only logical and of course it’s a track about fish. What else would it be about? Pete. It’s Pete’s fault. He’s to blame. Totally and utterly Pete’s fault. And a bloody good idea it was too. The fish theme fitted because of the nursery rhyme that starts 1,2,3,4,5, once I caught I fish alive. But obviously we can’t have anything about life in this track, so it’s got death in it. ‘Send him a death letter’ is Pete’s influence. I also count to five. (Took hours of figuring out and writing.) Then I list five parts of a fish.
This track is really only a filler. The idea was to have a couple of tracks to bridge some gaps. Little fade in/out sections, BUT I think this one works on its own. It’s quirky. It’s random. It’s not in 4/4. It’s in keeping with the album concept/theme. Enough said.