If you want to know about my story with Tim Cameron and his band Colours Run, check out my previous post about it. In summary: back when I was a teen, until I was eighteen or so, I used to frequent some comedy forums named PWOT, where an English fellow by the name of Tim Cameron, and nickname of Camerhil, posted his songs. I found him brilliant. You had the sense that this guy opened his heart up to you. It’s like he felt he had little time to do that in this world, so he was in a hurry to make it somewhere with his music. In 2007 or so, along with his bandmates, he published an album, and then he disappeared to the US and was never heard from again. I never heard from him again, at least. As far as I can tell, you can’t even buy his works these days.
I used to treasure his songs, but I had lost most of them along the way. It was almost a miracle that I came across a twenty-year-old CD with about eleven songs of his, and that was all I had left. Last night, though, a kind soul gave me an early Christmas present; turns out that there are other former PWOT members out there who loved Tim’s music.
Without further ado, here are the missing Colours Run songs (apart from a few ones that are, let’s say, only for former PWOT members).
From the album Cynical Wonderful:
“On My Side”
“Pilot Light 30-04-07”
“Beautiful Waste of Time”
“Scars”
“The Traveller”
“Perpetual Motion”
“Apathy Ever After”
“Pilot Light”
“Marketplace Crisis”
“Good Night”
“Tethers”
“Song for the Doctor”
From the E.P. The Sticks:
“Old”
“The Sticks”
“Curiosity”
Doghouse Demo:
“Before the War (demo)”
“Chaos Song (demo)”
“Tethers (demo)”
Unknown:
“Pilot Light 1st Master”
“On My Side”
“Fireflies”
“The Snowline”
“Beautiful Waste of Time (demo)”
“Beautiful Waste of Time radio”
“Before the War radio”
2007 demos:
“Birnam”
“Gossamer acoustic”
“Gossamer with vocals”
“Gossamer”
“Methods of Escape (no drums)”
“Methods of Escape”
“Pilot Light 07-02-12”
“Pilot Light 30-04-07”
“Prelude in C”
“The Snowline 16-03-07”
“The Snowline”
“Wichita Lineman”
Now I have more songs by Colours Run and Tim Cameron than I ever did.
In case you don’t know, this year I’ve been exploiting the amazing AI service Udio to produce songs. I’ve already made and released two full albums based on a strange story I wrote back in 2021, named Odes to My Triceratops. It follows the adventures and misadventures of a trio of friends who live in a town lost in the map. The main dude is a songwriter named William Griffin, who’s passionate and sensitive, if a bit unhinged. Another character is William’s next-door neighbor Claire Javernick, a blind redhead. Then we have Lorenzo, who’s a sentient triceratops for no justifiable reason. You can download the first two albums of this story through this link.
So yeah, a fresh new song directly to your ears, this one in the style of the relatively obscure Paisley Underground movement, which is a sort of garage psychedelic rock with a Californian vibe. I’m very fond of how this tune turned out.
Lyrics below:
A beast from the deep, The monster under your bed. Eyes red like the setting sun, Claws the size and weight Of a heavy human soul. It can’t die; it only transforms. It can’t be stopped, Unless it decides to stop.
I have a portal to hell inside my throat. It hurts, but I’m getting used to the pain. Still, I don’t know whom I hate more: The world, or myself.
This isn’t the story of how I died. This is the story of how I met a girl, We fell in love, and she betrayed me. She didn’t do it on purpose; She was just a dumb kid. Besides, the darkness drove her crazy, Almost as crazy as me.
I ain’t a poet, couldn’t hope to be, But I’m the only person left: A castaway in a plastic kayak, Drifting down the River Styx Past skeletons clinging to rocks, Reaching out for a bite to eat.
You and I, love, we shared our lives, We did the best we could, But the best we could Was a steaming pile of dogshit.
Someday I’ll make it to that faraway shore Where eagles soar on golden wings. There, I’ll sit and rest in my blue suit. I’ll watch as time goes by, Not aging a day, not losing a thing. The memories will blur and fade Until all I have left is me.
EDIT: I fed this post to the Google AI thing that generates podcasts out of your material. Yes, I’m writing the lyrics, you guys (who are by the way unaware of the fact that they’re AIs themselves). Check it out.
After an hiatus of nine months, mostly so I could tell the story of a motocross legend, my ongoing story, as long as a trilogy of novels, has returned. I wouldn’t blame if you if you’ve forgotten all about it. You can read any of its chapters on here, or listen to the existing audiochapters on here. I won’t continue producing audiochapters, though, because I have my fingers in too many pies. Anyway, let’s get rolling.
In the tomblike blackness, as if I were descending into the bowels of the earth, I keep inhaling oxygen to sustain the biological machinery of my aging body, even though every breath fills my throat and lungs with the stench of ammonia and rotten meat, a stink so overwhelming that it could knock out a woolly mammoth.
A click of a switch, followed by a whirring and the faint whooshing of air. With a buzz, fluorescent bulbs flare to life, bathing the subterranean lair in a bright glow.
“Here’s why I’m constantly up to my neck in bills,” my boss says.
At the center of the square-shaped room sits a hulking mass of metal: a shiny aluminum cylinder. No, not a cylinder, because a person-wide opening curves into the device, a path blocked now by an orange gate barrier that may have been pilfered from the streets. From the top of the machine grows a cluster of industrial piping, electrical wiring, and conduits resembling the ruptured guts of a mechanical beast.
A vibration disturbs the air like a low-frequency hum. From the opening of the spiral, through the gate barrier, danger leaks as a tangible yet invisible force; I sense the glare of a cosmic intelligence beyond my understanding.
The sight of Ramsés’ face, this swine in the guise of a man, with his middle-aged features, unkempt mustache, receding hairline, and lack of resemblance to Jacqueline or anyone I’d like to stare at, would have made me want to push him down a flight of stairs. Now, though, I’m glad he was born: he has led me to the one thing I couldn’t be arsed to search for properly.
“Hell yeah,” I say, and rub my palms. “I hate to admit it, boss, but you’ve done a great service for the universe.”
I grasp at the slippery reins of my sanity like a drowning woman clawing at pieces of driftwood. Alright, how can I destroy this reality-shattering device? The engraving of a skull and crossbones flashes in my mind: my trusty revolver, now stored in my work desk. I feel a pang of longing for its wood and steel to remind me of the glory days when I was still the main character and not the slave of others’ whims. Hey, Spike, my deformed, castrated pal, apart from wanting your own head blown into inhuman sludge, is this why you brought your revolver along? But I lack enough bullets to blast this spirally cylinder into nothing. Besides, I can’t forget the feeling of my hand being torn off that one time I relied on gunfire to defeat my foes, back when Alberto oozed from the wall in all his blobby, seething depravity to ruin my evening with apocalyptic tidings.
The stench is burning holes into my sinuses, and the hostility emanating from the machine thrums through my bones, but I approach the silvery-white shell, which reflects my blurry likeness like a liquid mirror. After rubbing my chin, I kick the device to gauge its solidity. Clang.
I was thinking of asking my boss if he had a chainsaw at the ready, when his hand, thick and beefy, wraps around my biceps, gripping tightly. He pulls me backward. Once I wriggle free, I’m tempted to punch Ramsés’ jaw with the force of my pent-up frustration and despair, which would atomize his teeth and ignite the meat of his face and pop his eyes. However, the fiend’s scraggly face, a map of the terrain of the damned, has contorted into a scowl, like a gorilla’s after I punted one of his relatives.
“Leire, what the hell are you doing?! You see an object you don’t understand, and the first thought you have is to break it?! Are you a chimpanzee?!”
My hand clenches around the ballpoint pen as if it were a dagger. The notion of impaling one of Ramsés’ eyeballs seems like a beautiful dream.
“Nah, I wasn’t planning on wrecking your stupid pipe thing, I just wanted to, you know, tap on it? Maybe I detected a kink that would be fixed by a whack on the side. Now seriously: I’ve finally found the cause of my misfortunes, the culprit to this whole ‘shredding reality’ business, and it’s been in the basement of my workplace all along! I should have known, given how this place has sucked up my soul ever since I foolishly allowed myself to be employed here. Anyway, once I find a way to obliterate this heinous contraption, this spiraling gate into insanity, the universe will be safe. Well, relatively safe, until the next asshole erects their own death machine. So let’s figure out how to acquire nitroglycerine.”
“Fuck’s sake, Leire, what are you blathering about?”
I sigh.
“Listen, boss, I can tell you haven’t grown so weary of life that you’ve been fiddling with, perhaps even fondling, an interdimensional end-of-the-world machine fully aware of the lethal stakes. You simply haven’t been notified by otherworldly monstrosities that tolerating this thing’s existence would lead to the irreversible and terminal cancerization of our fucking shithole of a world. Still, I must lay some blame on you, sir, as an accessory to this shitfest, whether through incompetence, naivete, or willful ignorance, if not sheer fucking stupidity, as long as you feel the machine’s malevolent aura attempting to smother our minds with its diabolical power. I shan’t have my newfound family squashed by a collapsing space-time continuum, so I must prevent the end of the universe, the death of everything, the grand finale of reality!”
Ramsés’ brow furrows as his jaw clenches, and I expect a torrent of insults and threats to gush from his mouth. Instead, he strokes the edge of his graying moustache, that unsanitary ornament made out of curly, coarse fibers that I wish to rip off strand by strand. His nostrils flare as he sucks in a breath to speak.
“I should have known you’re so demented that you wouldn’t think twice before assaulting delicate, irreplaceable hardware. Leire, I’m going to tell you a little story.”
“Oh my, is it story time? Can’t we skip it?”
“No, damn it. I need you to understand something about the machine.”
“Isn’t this chimpanzee too dumb to learn?”
My boss scrunches his greasy, perverted mug in annoyance. He pats his jacket, fishes out a cigarette, clamps it between his teeth, and lights it up. Then he takes a drag so deep that the tip glows red.
“Shut your trap and listen. This story starts back in the eighties or early nineties, when the internet was still a network of text terminals for academics. I was a kid then, if you can picture that. We used to visit relatives on my mother’s side, traveling out of province. In that family’s foyer hung a painting that terrified me even before I heard the adults talk about it. As soon as I stepped through the doorway, a malicious glare coming from the painting stabbed me through as if saying, ‘What the fuck are you doing in my house? Get out!’ I only dared to glance at the picture once, but in that brief look, I burned it into my memory.” My boss exhales smoke, then continues. “The painting depicted an elderly, bearded fisherman garbed in a canary-yellow raincoat. He faced the viewer, standing in a wooden dinghy surrounded by choppy seas and a stormy sky. The image seemed hyperrealistic, as if I could reach out and touch that rough water. The family that had chosen such an unsettling painting as the centerpiece of their foyer spoke of strange occurrences attached to it: a stench of rotten fish coming from the entrance, footsteps pacing up and down the hallway at night. I didn’t enjoy staying over. Anyway, one evening, as my brother and I were playing on the SNES in our cousins’ bedroom, the lights shut off. Far faster than it would have been possible, the stench of rotten fish swarmed the room. I heard the adults hurrying to the entrance, where they flipped the circuit breaker. I don’t recall how the rest of the evening transpired, but from that day on, I knew the painting was haunted.”
“Wow. This turned out to be an intriguing tale.”
“Sure. But as I grew older, I learned that the smell of rotten fish can be caused by circuit failure, as can a sudden power outage. Some heat-resistant chemical coatings release such stink before burning up. And strong electromagnetic fields mess with people’s brains, make them feel as if they’re being watched. You see what I’m getting at?”
“That you gaslit yourself into believing that you didn’t experience a paranormal event, just because you couldn’t handle the truth? Maybe the painting was haunted. Have you thought of that?”
Ramsés’ frown deepens.
“I told you I did.”
“It could have been both electricity and a ghost. Poltergeists love fucking with electrical systems. Anyway, I see far weirder stuff on the daily. Cultures across all ages have spoken of ghosts, and depicted them in similar ways. Doesn’t that count as evidence?”
“That may be the case, but it’s irrelevant to my point.”
“What did your tale have to do with this spiraling death machine, then?”
My boss throws his hands up.
“Oh, who knows!”
“Sure, we can waste time with anecdotes. After all, there’s no hurry to destroy that thing, not when the universe is about to be torn apart. Why don’t we find the painting, burn it with gasoline, then piss on its ashes? Not that we’d need to bother, because the world will be ending soon.”
Ramsés flicks his cigarette, sending a clump of ash to the floor.
“I suppose I must spell it out for you: the machine’s electromagnetic field messes with your already screwed-up head. You’re hypersensitive to it. Don’t bother me with this nonsense about the end of the world. Take a seat and calm down.”
Author’s note: today’s songs are “Closer” by Nine Inch Nails, and “Paranoid Android” by Radiohead. I keep a playlist with the myriad songs I’ve mentioned throughout this series. Check it out.
I’ve missed you, Leire, you fucking nutcase. I hope I can get back in the groove of this story soon.
By the way, Ramsés’ story is straight out of my childhood. The original experience is even wilder when it comes to what my relatives told about how the painting changed.
Speaking of spirals, the anime adaptation of Junji Ito’s masterpiece about obsession and spirals premieres tomorrow. Check out the clip below:
I’ve fed this chapter to the Google AI thing that generates podcasts out of any material. Check out the result:
Back in 2021 I wrote this short story about a therapist and his troubled patient named Alma. Man, 2021 was one prolific year. Anyway, I’ve presented this tale to the Google AI thing that generates podcasts out of your source material so the pair of hosts would do a review. Check it out.
Back in 2021 I wrote an extremely dark horror story called A Millennium of Shadows, in which I confronted some of my own darkness from my teenage years. I presented it to the Google thing that generates AI podcasts, and it came up with this piece:
You can read the entirety of this story on this site, starting from the first chapter.
For once, this isn’t an isekai: the story is set long in the future, after some apocalypse about which the survivors are still trying to figure out the specifics. Apparently their predecessors had become so advanced that they were mixing biological engineering with super-AI or some shit, until their industries went haywire and started mass-producing mutated monsters that overwhelmed the world. Those facilities seem to be still active somewhere, pumping out enhanced monstrosities. Seemingly the sole remains of humanity live in a megacity. More accurately, the wealthy live in the megacity. The rest of humanity (or just Japan?) endure in the surrounding slums. Among the unwashed masses, the local badasses are known as hunters, the only ones daring to venture into the wasteland to make their living. Killing monsters is profitable if they’re threatening the city or other hunters, but their main source of income are the relics of the old world: any random underground mall from the pre-apocalyptic world suddenly found attracts most hunters around, that won’t hesitate to murder each other for the loot if necessary.
Meet Akira. It’s a post-apocalyptic Japanese story set in the future, so someone named Akira had to be involved. We are introduced to him as a traumatized teenager who constantly gets robbed and generally bullied by local shitheads. During a monster attack, the guy has enough, and decides to defend himself with a gun against a group who are bound to kill him. Suddenly, a naked female spirit appears, and hovers casually toward him. Akira freaks out until she, who calls herself Alpha, explains that she’s an AI remnant of the pre-apocalypse, and that he’s the only one who can see her because his brain is attuned to the old-world networks still in place, so she can show herself to him as augmented reality. She’s not just a curiosity, though: she can offer Akira superhuman support, analyzing his environment, pointing out enemies, guiding his shots. After she manages to save him from explosions and monsters by telling him to stay put or move at times, he realizes that she’s trustworthy, and that this sexy ghost of the past is his ticket to a better life.
Alpha, as we piece together early on, isn’t that trustworthy. Apparently, for many cycles, she has been finding humans to support. All of those cycles have ended with the subject dying. In the latest one, the subject came close to succeeding in beating some final dungeon that Alpha wants her subjects to clear out, only for some information to have been revealed that made the subject turn against Alpha, who promptly took the subject out. What’s Alpha after, then? Is she on the side of the pre-apocalyptic humanity, who may only want to resurrect the old world no matter how many modern eggs need to be cracked? Is Alpha part of the same AI that mass-produces monstrosities? We still don’t know. Throughout the story, the friendship between Akira and Alpha is heartwarming, but as Akira becomes more and more dependent on her, in the back of your mind you know that she’s going to screw him over in the end. It remains to be seen, though, whether or not Akira would go along with whatever Alpha’s true objective is.
Akira is emotionally stunted. He was orphaned so young that he has no memory of his parents, and all he has known of people growing up is the need to protect himself from sentient wild beasts. As the story advances, he meets people who like him, and would even want to tear his clothes apart and mount him, but the part of his brain that ought to connect to people doesn’t work to any significant extent. Plenty of other compentent hunters see him as an uncaring loner who, despite his competence, is someone to be wary of. The exceptions are a few women in his life to whom he proved himself, and who are eager to take him under their wing and show him their delectable parts to get a rise out of him.
The gals in this story are delicious. Props to the author and the visual artist. From the teenage gang leader Sheryl to the redheaded murderess whose name I don’t remember but who was a super cyborg or something, you want to stare in awe and horniness. Thank you Japan for being you.
This is yet another one of those Japanese stories in which you follow the lives of the characters as they change and grow. Although some personalities clash, they have reasons for doing so. Some chapters are just about having a good time and hanging out with interesting characters that get along, and that’s something I think has been lost in Western stories, that are full of forced conflict and people acting like bastards to each other. As far as I’m concerned, you can rely entirely on the tension born from the story world and concept, as well as from some characters that are genuine bastards, and just have the rest of the crew navigating that while relying on each other.
I’m loving this story. I wish I could keep experiencing it, but I’ve run out of chapters. If you’re into Japanese stories with great action, careful worldbuilding, human stakes, and total babes, this is one of the greats as far as I’m concerned.
Also, why not, here’s an AI-generated short podcast about this review:
This weird thing that Google has released automatically creates short podcasts based on any source of information you give it. I suppose it’s quite useful for serious purposes, but I’ve fed it all my posts about the AI-generated songs I made for the third volume of Odes to My Triceratops. Listening to these almost perfect AI voices talking realistically about my stuff is really eerie. They made a couple of mistakes assigning lyrics to their proper songs, though.
Back in my late teens I frequented the Pointless Waste of Time forums, a comedy site belonging to Jason Pargin, later writer of the John Dies at the End series. The little I remember of my teenage years was beyond miserable, but I looked forward to a few things; one of them was the songs that a member of that forum posted regularly. His name was Tim Cameron, an intelligent, funny and honest British fellow who made music that I still vibe with. He later formed a band that he called Colours Run. They seemed to be on the path to grandeur (appeared on live shows and such), only for Tim to suddenly call quits on the whole thing, move to the US, and never be heard from again. That happened about twenty years ago.
His songs disappeared from the internet. As much as I would have loved over the years to listen to them again, they were gone. A few years ago, though, I came across an ancient CD in which I had burned some, unfortunately not all, of his songs I had downloaded.
I want others to know of this creative dude and his talents, which used to brighten my horrid days, so I plan to post on here all twelve recordings I have left of his. Tim, if you happened to google your old band out of nostalgia and came across this site, I’ll take them down if you want. And thank you for your songs.
A couple of weeks ago, I posted the first song of theirs I intended to post. Back then, I wanted to focus on a single song per post, but I’ve been busy with other stuff lately, so I ended up not posting any more. To my surprise, someone who also likes Colours Run found my post and urged me to share the rest of their songs, particularly “Tethers” and “Apathy Ever After.” I suspect I have never listened to those songs. Looking back, right at the end I stopped visiting the forums for personal reasons, and that’s when Colours Run released their “real” album, that is now unavailable for whatever reason. All the songs I have of theirs precede that album.
Without further ado (and no lyrics this time):
“Before the War”
“Before the War” (live)
“You-Centric Song”
“Alphabet Soup”
“Sand”
“Plastic Cups”
“Winter’s Day”
“Chaos Song”
“Curiosity”
“Paper Cord”
“Paper Cord” (live)
“Colours Run”
Listening back to these songs, it’s a disgrace that Tim and his boys didn’t make it. They were the real deal. Even decades from now, if I live that long, I’ll still love his stuff.
If you reading this are a fan who has stumbled upon this blast from the past, if you happen to have other songs of theirs that have otherwise been lost to time, by all means tell me where the hell I can find them.
EDIT: I found “Tethers” on YouTube:
This one’s “Beautiful Waste of Time”, from the YouTube channel posted in the comments:
Back in my late teens I frequented the Pointless Waste of Time forums, a comedy site belonging to Jason Pargin, later writer of the John Dies at the End series. The little I remember of my teenage years was beyond miserable, but I looked forward to a few things; one of them was the songs that a member of that forum posted regularly. His name was Tim Cameron, an intelligent, funny and honest British fellow who made music that I still vibe with. He later formed a band that he called Colours Run. They seemed to be on the path to grandeur (appeared on live shows and such), only for Tim to suddenly call quits on the whole thing, move to the US, and never be heard from again. That happened about twenty years ago.
His songs disappeared from the internet. As much as I would have loved over the years to listen to them again, they were gone. A few years ago, though, I came across an ancient CD in which I had burned some, unfortunately not all, of his songs I had downloaded.
I want others to know of this creative dude and his talents, which used to brighten my horrid days, so I plan to post on here all twelve recordings I have left of his. Tim, if you happened to google your old band out of nostalgia and came across this site, I’ll take them down if you want. And thank you for your songs.
Without further ado, here’s the original version of “Before the War.”
Here’s a recording of “Before the War” from a live event they did:
Lyrics below:
When we lost the human race All our brains got replaced, And all these robots never laugh At my jokes.
So take me back before the war. Take these things, they’re all yours. There’s nothing, nothing worth Fighting for.
You stole my drugs, crashed my car, But you left no lasting scars. Retribution slipped so soft, Like a blade.
We blew it up, knocked it down. Never tried giving ground, and now There’s nothing left of love But what I saved.
I get tired winning games When the pieces never change, And all the clever moves you make Seem so tame.
You can sulk if you want. Don’t you wonder what’s the point When there’s nothing left of love Worth sulking for?
Did you cry when you left me?
Another year older, The world on my shoulders, And I’m still no closer To finding a girl Who won’t bore me to tears. Not here.
There’s nothing worth fighting for. Don’t remember what I did before the war.
Udio released the ability to download your produced songs in parts (bass, drums, other instruments, and vocals), so naturally I’m remastering all songs I thought done. And I wanted to tackle as soon as possible my favorite of all I’ve produced: a strange piece that somehow feels like it encapsulates most of my life in eight minutes and thirteen seconds of pitch-perfect emotion.
Udio uses AI to divide each song into stems, and it had trouble with this one: the wavering instruments and vocals turned up in different stems, only to return to the original. I haven’t seen it do this with any other song remotely to this extent, which adds to the strangeness of the for me timeless song. Too bad I came up with this one before Udio improved its audio quality.
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