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.
Hey, do you remember my song named “Burying the Beast,” that I had remastered like four fucking times? Well, some details of the latest version annoyed me enough that I’ve spent this afternoon remastering it once again. It’s one of the best songs I’ve produced, so it does deserve that extra attention, and apparently I have nothing better to do.
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 songs from the third album, but I couldn’t help myself, and produced the first song, current opener, of the fourth album of Odes to My Triceratops. This is a tribute to those who have found themselves staring down into the abyss, only for a faint voice deep inside them to whisper, “Not yet.”
Lyrics below:
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.
In the original narrative written in 2021, there’s no fourth “album,” or set of songs. William commits deathcide against himself. However, as I was producing the seventy-five or so songs, at some point I got the sense that this more detailed version of William wouldn’t go through with it, so I’ve decided to pull a Hotline Miami and split the timelines. It’s all uncharted territory from here.
The Domains of the Emperor Owl 
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