Ms. X listens a song, and thinks that it’s terribly sad & desperate. Mr. Y listens the same song, and afterwards thinks that it’s going to be all right.

Colonel Hazel notices a song playing in the lobby of a government office building and makes a few discreet dance moves, while the same song annoys the heck out of Dr. Cashew in the airport lounge bar.

That’s pretty much the fun in music. We all hear stuff in our own way. Poison for one, cure for another.

I’d guess that todays song can be heard as a soundtrack for a sci-fi movie suspence scene. You know, weird sunglasses, ray guns, hacking and perhaps a hovercar chase.

Anyhow, while making it, I did have something else in mind.

My condolences to anyone who have MIGRAINE.

Some more of the stuff I like to call historical goodness.

ORGAN WERK OPUS 76 IN D MINOR is baroque era organ music, in the spirit of dudes like Bach & Buxtehude.

Rock yeah.

Have you noticed how the music in most movie trailers is astoundingly homogenic? The same song playing over and over again.

Yes I know, that kind of music is not meant to be in your face. It’s there just to deepen the visual experience, help set the mood and ultimately sell the initial product, in this case the movie.

IMBONE is such music, specially suitable for an action / adventure / thriller kind of environment.

Monday morning. Day off because of the easter. Not a terrible rush to get out of the bed. Coffee smells nice. Sun shining in through the curtains. Take a peek outside. Shiny indeed. Coffee’s ready, smells even nicer. Fill the cup & add some milk. Strech arms up in the air, doesn’t hurt at all. Take a zip of the coffee, tastes sooo good. Read the news… Hey, there seems to be a newly found hole in my right sock.

That’s some monday morning realism for you. Imperfect, but still pretty darn good. Like THE COMFORT OF WABI-SABI.

Ok, yet another chiptune-tune. Or ”chiptunish” because there’s some conventional percussions as well.

The snare drum is all chip. That’s the sound that takes me back to 80’s: Sitting in front of a TV, watching a loading screen slowly load in. And waiting. And waiting…

I sometimes use anagrams in song titles and I think BANGLE ICON’s a one. I’ve completely forgotten what the original words were. El bacon gin?

Confession: I have no knowledge nor experience of any kind of asian folk music. I’ve listened some J-pop, paid attention of the soundtrack in a random Hollywood movie when the chinese character is first introduced and can name several Beatles songs which have Indian influences.

Unfortunately that doesn’t mean anything.

Sure I made some research about instruments and stuff before making this song, but that only made me realise that I don’t know jack. Because my days on this planet are most likely quite limited, I think I’ll save studying ragas, the secrets of koto and chinese traditional opera for the next life.

Without further ado, northern boy’s attempt to create something oriental: THE TALE OF THE PIG AND TWO SNAKES.

About the PUPPET HEDGEHOG RIDING A RED CONVERTIBLE IN A POOR QUALITY ANIMATIONs title… Yeah, that’s exactly what I started seeing when I’ve recorded a good 3,5 bars of it. It’s funny how sometimes songs appear so strongly before your eyes.

It took awhile, maybe a couple of hours of brainstorming to figure out that the hedgehog in question is none other than Robert from the movie ”Meet the Feebles”. But what the heck is a puppet doing in an animation? Figure that, me.

About the song: Not much. It’s just some simple feel good pop, with a touch of reggae.

And yeah, ”Meet the Feebles” is awesome.

Making blues sound bluesy enough in konganos context can be a bit tricky. Blues doesn’t have much of a melody, it’s only got blues. And rhythm, well it’s there but it sure isn’t in a starring role.

I think I found SMOKEY WINDS’ blues from a dialog between guitar and organ. Neither of them say very much, but what they do say, it’s all blues. Communication in a language of blues.

I had a mantra when playing in the guitars: ”Play less. No, less than that. Play less!”

With this addition, there’s now at least three songs in each genre category. Small yay for that.

I don’t have a lot to say about this weeks song. It’s dance music, with danceable rhythm, simplistic melody and, well, not much more.

Unnecessary fun fact of the day: The ending, starting approximately at 4.17, is the first thing I recorded for the track. I only left it there for the giggles. Neat little sound, isn’t it?

*drum roll – DANSMANIA.

The very first note I wrote about this tune was just two words: ”a drunk”. (Or is ”a” considered as a word?)

Then I decided that bassoon’s my weapon of choice.

After writing just a few bars of melody, the song started assembling itself.

SLOSH WALTZ depicts a drunks staggering trip from bar to home. The fellow in question is well dressed, top hat, bow tie, cane and everything. And what do you know, he looks just like James Finlayson, the scottish actor.

Our hero lives in a world, where the only colours that exist are black, white and their numerous shades. His movement is quick yet clumsy, as if the time is moving faster than it usually does.

After some adventures, including passing out for a while on the back of a milk carriage, the drunk finally gets home. The whole thing ends to a good tripping.

I call this one a waltz even though there’s not a single 3/4-bar in it. The slosh part in the title should explain it.