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:
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.
In case you don’t know, I’ve been obsessed with producing songs lately by exploiting the amazing AI service Udio. 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.
Here’s the second version of “Knife-Beard Dreams,” this time a mix of psychedelia and indie folk. I’m very impressed with how this one turned out. While the other three songs I’ve produced for the fourth album are unnerving to some extent (which sometimes the subject matter and/or vibe require), this one is so pleasant-sounding and groovy that I see myself listening to it over and over. Add to it Udio’s improved sound quality and my growing mastering skills, and even the MP3 version of this song sounds fantastic.
Lyrics below, same as the other version:
The words on the page, They’re too plain. I can’t read. I have no clue what anything means.
The man in the heavens had a plan To prove I’m insane. He sent the sky crashing down, And it crushed me into dust.
Deep down, the darkness whispers; It calls and calls, and I must heed. I can’t take my life, But I can’t live the one I have.
Why the hell am I singing? Nobody’s around to listen. I should just shut up And go back to sleep.
Maybe I’ll dream about a giant worm With a beard made of knives. Maybe I’ll dream of homicide, And wake up with a big smile.
Ever since Udio released the ability to download the songs in parts (drums, bass, other instruments, and voice), I knew I would end up remastering every single song I believed done before. And I’m glad I’m doing it, because this awesome psychobilly song “St-a-b Ya-self” sounds fucking amazing now: growling bass, crystal-clear voice, crunchy distorted guitars and drums.
What happened to psychobilly, anyway? There should be far more of it out there.
Why not, here’s a psychobilly song by an actual band made of humans:
In case you don’t know, I’ve been obsessed with producing songs lately by exploiting the amazing AI service Udio. 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.
I’ve made this weird little song about having to keep living when you don’t know how. Part progressive metal, part motown soul. It exploits Udio’s improved audio quality, that joint with the ability to download the song in stems, has resulted in my highest quality song yet.
The singer’s voice right at the end sounds almost exactly like Tim Cameron, leader of late 1999’s, early 2000’s amateur British band Colours Run. That’s one hell of an obscure reference, particularly because the guy disappeared about seventeen to twenty years ago, and I haven’t come across anything new of his since. Hey Tim, I’m a middle-aged dude now, but I still remember how eagerly I clicked on the songs you posted on that forum ages ago. Your music was among my favorites.
Anyway, lyrics below:
The words on the page, They’re too plain. I can’t read. I have no clue what anything means.
The man in the heavens had a plan To prove I’m insane. He sent the sky crashing down, And it crushed me into dust.
Deep down, the darkness whispers; It calls and calls, and I must heed. I can’t take my life, But I can’t live the one I have.
Why the hell am I singing? Nobody’s around to listen. I should just shut up And go back to sleep.
Maybe I’ll dream about a giant worm With a beard made of knives. Maybe I’ll dream of homicide, And wake up with a big smile.
Hey, remember the garage-rock song “Burying the Beast,” that I’ve remastered like five fucking times already? Well, now that Udio lets you download the drums, bass, other instruments, and voice of any song separately, I had to try and master the best possible version of this song. I really, really hope it has been the last time. This song has a high amount of distinct parts for its length.
In any case, the end result is far, far punchier and clearer than all my earlier attempts. If you liked this song already, I suppose you’ll really like this version. If not, well, suck it.
Udio, the amazing AI service that has allowed me to produce about seventy-five songs, has improved once again, this time, apart from other great things, allowing the user to download individual WAV files for the bass, the drums, the instruments, and the vocals of every song. The division is AI-based, so not perfect, but fantastic enough. It gives me the chance to individually remaster those four parts for each song. Too bad the instruments other than bass and drums are mashed together into a single WAV, but can’t ask for miracles. Hell, even being able to download a song in parts seemed impossible to me months ago.
Of course, this development makes me want to go back and remaster every single previous song. My OCD has been killing me lately.
Anyway, here’s the vastly improved version of my dance-punk masterpiece “Paleontology of Pain.”
This song is one of my favorites, but the previous remaster was done when I didn’t have much of a clue what I was doing. I think the new version does it justice.
In case you don’t know, I’ve been obsessed with producing songs lately by exploiting the amazing AI service Udio. 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.
I’m still remastering the third album of Odes to My Triceratops, but I had already planned to make alternate versions of the fourth album’s opener. In the past, I thought that producing different versions of the same lyrics and structure was a bad thing, I suppose because regular albums don’t do that, but I don’t know why I would be subjected to the same rules. So I present to you the fuzzy, unnerving bitpunk version of “A Tribute a True a Work of a Art.”
Lyrics below, same as the original version:
Are you truly acquainted with William Griffin? I know the prick, yeah. What’s your impression of him? He’s the biggest dickhead I’ve ever had the misfortune of meeting. If he were a salad, he’d be a crap salad. That’s a very strong opinion, sir. I don’t think he even has friends, or is loved by anyone. Can you believe he goes around calling himself a songwriter? He did write many songs for the band Sexican Dinosaw, including “Raptorial Bliss,” and “I Have a Tail Like a Sword.” Yeah, utter shit-piles of stupidity and impropriety! So you wouldn’t consider him an artistic individual? You might say that he’s artistic in his depravity! Listen, his lyrics are depressing as fuck. They’re like what a seagull would crap out after eating a depressed philosopher. Can he be blamed, though, for his descent into madness? Word on the street is that he’s afflicted with PTSD. Post-triceratops stress disorder?
If I had to summarize William Griffin Into into a meaning meaning-devoid action it it It it would would be would be would be would be be would be by by writing Writing this this song this song this song this song song.
These lyrics are bullshit, So I’m skipping to the point.
Ladies and gents, gather round! To the far reaches of the land, let it be known, That the songwriter-slash-murderer William Griffin Is the biggest coward in the world!
Do you have some unfinished business? Does a part of you still cling to hope? Please make sure to tell me, boy. I gotta know.
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