#demos

[youseeyourgypsy9]

GAGA: The Unreleased Collection

The complete unreleased collection by Lady Gaga including: Unreleased songs & albums, Rarities & B-Sides, Demos, and Live Albums

Google Drive Link:

[posthumanwanderings]

[melliotwrites]

Adamandi revision demos (3/?) - a new song for Portia, "Bones of the Dead"! Vocals by Lara Priya Sachdeva. Lyrics by Mel Hornyak, music by Elliot Valentine. Lyrics below the cut:

PORTIA: TALKS ON THE ROOF. WRITING IN THE DARK. THEORY BY THE WINDOW, UNREAD. WAITING OUTSIDE TO THE SOUNDS OF CRYING... LIFE ON THE BONES OF THE DEAD.

SEARCH FOR YOUR FRIEND. TELL THEM THEY’LL BE FINE. TRY TO MAKE THEM GO HOME, INSTEAD. WEIGHING YOUR LIFE LIKE A HEAVY POUR... LIFE ON THE BONES OF THE DEAD.

YOU TRY TO BE GOOD. TALK TO YOUR FRIENDS. EVERY DAY FEELS LIKE YOUR LAST. THEN IT ENDS.

WALKS IN THE SNOW. WAITING FOR A TRAIN. STRIPPING ALL THE SHEETS OFF YOUR BED. HOW CAN YOU LEAVE, IF SO MANY STAYED? NO MORE OF THE BONES OF THE DEAD. NO MORE OF THE BONES OF THE DEAD.

[iamtryingtobelieve]

I can't believe that what I feared is finally happening to me Make it hurt and point the finger at my insecurities Well I guess I just don't understand about what you want and what you need And I guess I just don't understand about why this is why it has to be?

Maybe, maybe just once I could get what's coming Maybe, maybe just once I could get what's coming to me

So once again, the way you feel will never ever stay the same And I'm to blame I wonder who just made the rules up for this game Well I guess I just don't understand about those complexities in your mind And I guess I just don't understand why this world seems so unkind

Go ahead and say those thousand things you think you have to say Look at me and tell me that love's not such a hard word anyway Well how can you count on me, I thought you realized for sure Well how can you just believe, I thought I deserved a little more

[disease]

NAG NAG NAG [ATTIC DEMO] CABARET VOLTAIRE | 1977/78

[arielsojourner]

So I was in Greece and found out it was a lie.

All those episodes of Xena Warrior Princess and Iolaus: The Legendary Journeys.

They.

Were.

LIES.

Did you know that throughout ALL of Greece for all the centuries leading up to when the Romans invaded, all of the many myriad city states and colonies-- west to Sicily and south to Africa and north east to Asia Minor, all of them: no temples to Ares.

None.

All the other gods? Yup. Hell, they even imported Isis from Egypt so she has shrines on Delos. DELOS. The holy birthplace of Apollo. Shrines to the Egyptian goddess Isis.

But Ares? No.

And in both shows that was the WHOLE plot. It was always about Ares and his temples and shrines. Even the Young Hercules spin off with Ryan Gosling as Hercules and the actor who would later be Fili the Dwarf playing young Iolaus, Ares was always in his temples and always trying to protect his temples from being smashed up or destroyed. And I visit Greece for the first time in my life and go to all these amazing sites-- Delos, the canal at Corinth, Olympia, Delphi, Athens, Ithaca, Patmos, Tinos etc. and . . . no Ares. No temple to Ares.

And when you visit Greece and they take you to the ruins of the temples of Athena and Zeus and Apollo etc. you learn that people built temples for the gods to use as like vacation homes when they didn't want to stay on Olympus.

All those city states. All those colonies and during the entire Hellenic period no one built one single temple to Ares according to the docent at the Delphi museum.

Apparently no one wanted Ares as a neighbor.

[meredithgran]

Today is the day. A demo for Perfect Tides: Station to Station is now available on Steam. Please enjoy!

It’s an incredible thrill to be offering this first look at this game, which could not exist without the artists who’ve helped to craft it. Please join me in celebrating the work of the core team Soren Hughes (Background Design) and Daniel Kobylarz (Music), as well as the artists who have contributed graphic assets: Garrett Hobson, Carly Monardo, and Tony Wilson.

This build has also benefitted from dozens of hours of testing and feedback, thanks to a generous and dedicated pool of playtesters. You will find their names at the end of the demo, when you’ve experienced their efforts for yourself.

While you’re downloading, consider wishlisting the game! It keeps you abreast of game updates, feeds the Steam algo, and is a big help toward getting the word out about these games.

[nofatclips]

We're Fucking Artists, We're Sensitive as Shit by The Lion's Daughter from the collection album Horror Cult Demos

[night-loop]

On the new album Pathways, there are 2 songs that are reworked/reused from previous albums.

Faces was posted on Patreon as a full song a few of years ago. It was an outtake from Pins and Needles and is now the second last track on Pathways, virtually unchanged.

Cruel Love is extended from the Walking With Strangers concept that they called Soundtrack (just a working title). The beginning of Cruel Love is the same as what you hear in that demo. It was instrumental only.

[jt1674]

[betweenthelines1975]

i wrote this song inspired by supernatural that did kinda good on tiktok so i thought i would share the demo here as well, the full thing is coming out on my EP on January 31st :)

[sandyshoreofficial]

just for you i let it happen

my 3rd LP, titled "Amnitous", is out on march 14th. this era has been a crazy ride, with my first demo posted in early january. anyway, pre-order the LP here or part 1 / part 2.

behind the scenes on sound comp here.

more teaser soon!

p.s the song featured here in the video is a little demo I made and not part of the LP in any way. also found out that the record is 86 min and 55 seconds!!!!! THAT'S CRAZZZZZZY!

Original post here.

[posthumanwanderings]

[ .hack Behind the Scenes (Official PlayStation Magazine US 62) ]

[melliotwrites]

we've been revising Adamandi in preparation for licensing, so we'll be sharing some new demos!) this is "Oh, Ms. Reporter" (1/?)

lyrics:

VINCENT:

DEAR MS. REPORTER, I’M HONORED TO BE HERE

OH, MS. REPORTER, I’VE HAD A BUSY YEAR

IF YOU WANT PARTICULARS

MY EXTRACURRICULARS

HAVE BEEN QUITE FULFILLING

AS I MADE A KILLING!

I’VE BEEN SILENT, QUICK, AND DEADLY

AS I FOUND EACH NOMINEE.

THIS PRIZE LIST’S GOTTEN SHORTER

AND IT’S ALL BECAUSE OF ME! 

I STARTED OFF EASY 

WITH THOSE JOCKS IN THE GYM.

I’M LUCKY IT WAS AMBROSE.

I MEAN, ANYONE WOULD KILL HIM!

OH MS. REPORTER, YOU LOOK A LITTLE FAINT.

WELL, MS. REPORTER, I’VE SHOWN GOOD SELF-RESTRAINT.

NO ONE ELSE SUSPECTS A THING

OR LOOKS AT ME IN STUDY HALL

OR ASKS ME WHERE I’M HEADED TO

IT’S LIKE THEY’VE NEVER CARED AT ALL.

HOW CAN THEY NOT NOTICE?

I’M SO NEAT AND PRECISE!

FEEDING THEM TO SQUIRRELS

OR THE LABORATORY MICE.

THE ADMIN WON’T STOP ME.

NO SURVEILLANCE INCREASED.

YOU WOULD THINK, REPORTER, 

THEY WOULD CANCEL CLASS AT LEAST! 

OH, MS. REPORTER, I’VE HID THEM QUITE WELL

AND, MS. REPORTER, AS FAR AS I CAN TELL

I COULD KILL THEM ON THE GREEN

OR LEAVE THEIR BODIES IN THE SQUARE

BURN STUTTON HALL TO ASHES

AND THE ADMIN WOULDN’T CARE!

AND I THINK THAT I’M THE PROBLEM

IT’S LIKE EVERY OTHER YEAR.

EVEN IF I TRY TO PLEASE THEM,

IT’S LIKE I WAS NEVER HERE.

ALWAYS PART OF SOMEONE’S SHADOW

ALWAYS PUT BACK IN MY PLACE

(to GHOST AMBROSE)

I’LL NEVER HAVE THE MONEY

OR THE BIRTHRIGHT, OR THE FACE. 

(GHOST AMBROSE mirrors VINCENT’s movements for the rest of the song) 

I’VE CHOKED THEIR RICH MACHINE WITH BLOOD

BUT THE WHEELS JUST KEEP ON TURNING.

THEY’D NEVER LET A COUPLE DEATHS

DISRUPT A PLACE OF LEARNING. 

OH, MS. REPORTER, I CAN’T SAY THIS TO YOU

BUT, MS. REPORTER, I MEAN, WHAT ELSE CAN I DO? 

WHAT ELSE COULD MAKE THEM WANT ME?

IS IT SOMETHING I CAN’T SEE? 

WOULD THEY NOTICE ANYTHING

IF IT WAS DONE BY ME? 

THERE’S NO MORE RULES TO TEMPT ME

OR CONTESTANTS TO PURSUE 

PLEASE, MS. REPORTER, 

PLEASE, MS. REPORTER,

PLEASE, DON’T TELL ME,

BUT WHAT ELSE CAN I DO? 

WHAT ELSE CAN I DO? 

WHAT ELSE CAN I DO? 

WHAT ELSE CAN I- 

WHAT ELSE CAN I-

WHAT ELSE CAN I DO?

[keyofnow]

Notes on the Esher demos

The White Album is like the coolest present to fans, to get to hear The Beatles playing in this whole range of styles they'd never done before, that no one had ever done, with words and phrases that nobody else was singing — at least not as convincingly and with such rich and varied texture of sound — four fresh sides containing 94 minutes of never-before-heard music and sound from the biggest band on Earth.

The making of the White Album is its own (well-documented) story, and starts in February 1968 with the trip to India and Maharishi's ashram in Rishikesh, where John and Paul (and George now, too) wrote most of what would become their next album. Then when they regrouped in London afterward, they held a marathon “rehearsal” session in May 1968 at George's house in Esher, where they recorded onto reel-to-reel tapes that became known as the Esher demos.

The Esher demos provide a fascinating artefact, a glimpse into the writing and arranging process of over two dozen songs by three of the group's primary authors. The songs cover the bulk of the White Album, as well as a few surplus numbers that would carry over either onto subsequent Beatles albums or onto their respective solo albums.

According to my sources (probably Beatles Bible or maybe the liner notes of the 2018 Super Deluxe Edition or something) they performed (in this order): 8 John songs, followed by 5 George songs, 1 more John song, 7 Paul songs, and lastly 6 more John songs — for a grand total of 27 numbers “rehearsed”, with John contributing a total of 15 songs to Paul's 7 and George's 5.

Indisputable facts:

Of John's 15 songs: 11 made it onto the White Album; 2 wound up on Abbey Road; 1 was reworked into ‘Jealous Guy’ for his Imagine solo album three years later; and lastly, 1 was recorded for the White Album but withheld until nearly three decades later on The Beatles Anthology.

Of Paul's 7 songs: 6 made it onto the White Album; and 1 ended up on his McCartney solo album two years later.

Of George's 5 songs: 2 made it onto the White Album; 1 was given to Jackie Lomax to record; and 2 ended up on George's solo albums in the late '70's / early 80's (as well as a Beatles version on Anthology.

Some observations on the body of songs:

In terms of final numbers, it appears that John would supplement his contribution of 11 ready-to-wear songs with ‘Good Night’ (practically tailor-made for Ringo to sing) and ‘Revolution 9’ (a spontaneous evolution of ‘Revolution’ with a little help from Yoko, George, and Ringo, but none from Paul), bringing John's total White Album count to 13. Paul only brings 6 fully formed chansons into the discussion, so he'll have to push himself to write ‘Martha My Dear’ and ‘I Will’, and he'll improvise ‘Helter Skelter’ (with the group), ‘Why Don't We Do It In The Road’, and ‘Wild Honey Pie’ (the latter two both solo), bringing Paul's total album count to 11. And George, who only carries over 2 of his songs from Esher, pitches in a couple more to fill his quota of 4 songs for this record. Meanwhile it's well understood that ‘Birthday’ was largely a spontaneous collaborative effort (a uniquely singular occurrence during this period), and that Ringo contributed his debut composition ‘Don't Pass Me By’ (in the works since at least 1964), bringing the total album count to 30.

(This is all not mention Paul's on-the-fly invention of ‘Hey Jude’, nor the fast remake of ‘Revolution’, let alone the attempted recordings of John's ‘Mary Jane’ and George's ‘Not Guilty’ which were both abandoned.)

Some specific thoughts about the Esher demos:

At a glance, it's easy see why John may have still favoured Paul's writing over George's at this stage, as George's songs at Esher tend to be a bit dour overall, whereas Paul's are much more upbeat, sweet, and otherwise diverse in content, tone and delivery, even if they can be a bit campy.

It's understandable why John would have shelved ‘Child Of Nature’ at this stage, since it was not nearly as elegant as ‘Across The Universe’, and the sentiment was better expressed by Paul's ‘Mother Nature's Son’.

It's easy to see how ‘Junk’ was practically an afterthought, and never really up for serious consideration this time around.

It's also easy to see why ‘Circles’ got rejected flat out. Compared to most everything else that's presented at Esher, it's a f****** drag. Sorry, George. Hauntingly beautiful on its own, but ‘Long Long Long’ fits better with the other songs.

Since ‘Sour Milk Sea’ is a sort of nauseating image, it's no mystery that it got passed over for something sweeter like ‘Savoy Truffle’. Then again maybe George was ‘sticking it’ to the others by not giving them his most commercial sounding song. Perhaps Paul's ‘AWOL with Apple in California’ trip even prompted George to give this tune to one of their hungry new Apple artists.

‘Not Guilty’ could have been a contender, since it seems to possess all the right elements, as witnessed by the Anthology version.

On the other hand, ‘What's The New Mary Jane’ arguably should never have been a contender, since it's a deliberately attempt at nightmarishness. ‘Revolution 9’ is unsettling, no question, but this feels downright sinister. ‘Good Night’ is much sweeter.

[I will almost certainly add more thoughts here at a later date.]

Read the full White Album diary...

🍏