Alrighty, this might come off as ridiculously snobby, but I’m going to try it out anyway. Its easy to see on sites like Youtube and Last.FM what my most popular tracks I’ve created are.. Infamous YTPMV anthems like “temperatures rising, getting HAAAWT”, and mindless breakcore like “GAYCORE” and “BEER”..
To me though, I’ve created a bunch of tracks which I have a deeper connection with though. Although they’re not the best tracks produced in the world, I devoted myself to certain tracks when I created them. Either that, or they mean something deeper to me.
This here is a list, of my top 40 favourite tracks I’ve composed over the years.. and to shock and appaul you, none of my YTPMV shit is on here. Thats right, thats how much I totally dont value those. Fucking gay shit. Hope you enjoy!
40. ACID IS EXTINCT (Your Mums Face -- 2006)
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I created this track, thinking how I would never experience the vibe felt in the early 90’s in pumping illegal warehouse raves, and how it was silly of me to imagine that I ever would. I considered this one of my best tracks for a few years, but in retrospec it doesn’t do much for me now.
39. Back in Rome (There’s a party in my head, and you’re all invited! -- Work in Progress album)
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A track I created in summer last year, experimenting a little more with audio slicing.
My isolated garage in 2004. Where I created music, flash, and spent my time playing video games.
38. Tomorrows Nobody Remix (01-09: The Remixes -- 2004)
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A remix based upon a theme used only once by the flash animation group Tomorrows Nobody in 2004. For some reason, around this time in my life, I was in love with really dark sounding atmospheric pads. I put them to no better use than in this track right here. I listen to this track, and I can remember making flash in my parents garage like it was 2004 again.
37. WYSIWYG (WYSIWYG -- 2006)
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Originally created for a flash loop on Sheezyart.com, I developed this track, originally for “Your Mums Gay”, but then decided to release it as a single on iTunes. It performed moderatly well, and I made myself £17, which I was honestly surprised with. That paid for distribution, AND got me a pint of Fosters! Cheers!!
36. Brief Moment in Time (SMC Supreme -- 2001)
2001 Original:
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2005 Remix:
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When I started to compose music as a hobby, “Brief Moment in Time” was a MIDI creation, put together in Cakewalk I think. When I first discovered FL Studio though, I imported the track and applied instruments, making this the first track I composed in Fruityloops. Bizarrely, this one kept getting attention, with unofficial remixes produced by DJ Raiku, and Sqeezy.
35. Simple guy (01-09: Lost Tracks -- 2005)
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A dick about that’s stuck with me.
34. NINETEEN NINETY EIGHT WAS THE BEST YEAR FOR MUSIC (Your Mums Face -- 2006)
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As I began to rediscover heaps of music in 2006, I seemed to develop myself a rule, that was, if it was created in 1998, it rocked the shit. That seemed to work for most cases. This here is a track created from some of my favorites.
33. Unto your fathers (01-09: Lost Tracks -- 2005)
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Technically, I never completed this one. As I worked on it, I was never satisfied with how it came out, and to this day I’m still not. Some of the best chords I’ve done I reckon, one of the catchiest melodies that’s stuck with me. I’d like to give this one another try, when I can properly produce music.
32. You can dance! (No Tech -- 2005)
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As I produced an album in the spare moments of first year of university, I felt like creating big dance number about the freedom of dance, fueled by the raw energy of the local FND (Friday Night Disco). What resultd was not dance at all, but the quirky mrSimon sound I’d always end up with around 2005. Although the video shows me dancing foolishly in my parents house, the track’s infact about university life.
31. HALLOWEENS FUCKING SCARY (Your Mums Gay -- 2006)
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Another non-serious track that’s just stuck with me. I love how this one just feels, non-structural and stupid. Although this is the kind of stuff people like from my music, its the kind of thing I’m going to be moving away from. There was a time and place for it, and it was called university!
30. The Weakest Link (01-09: The Remixes -- 2003)
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This track acted as a segway, between my default underdeveloped rubbish produced under the name ‘SMC’ between 2001-2002, and more focused and expanded compositions I’d begin to create afterwards. Created in collaboration with my brother, I’d like to think this remix compliments the moody atmosphere of the TV theme tune.
29. You are so Polish (SMC Supreme -- 2001)
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This was another mess around, created using on-rails consumer music software “Rave eJay” before I began to create original work using FL Studio. This was created in boarding school, elaborating on a pleasant in-joke, poking fun at our foreign member of staff, since he was Polish. This could be seen as an incredibly racist song, but the whole thing was completely light-hearted, and became a mini-anthem in the school for a few months.
28. PINOCHIO’S COCK GROWS AT AN EXPONENTIAL RATE (01-09: The Remixes -- 2007)
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This is simply the stupidest remix I’ve ever created. Nothing but chipmunk sampling and the lovely amen break.
27. Joe is a level 31 nightelf (Your Mums Gay -- 2007)
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I sat in my university bedroom, surfing the internet. I looked across the room, and Joe was playing World of Warcraft. He shouted, “Yes, leveled up, Level 31, for the win” or something. I then made a track, trying to glorify it like it was actually worth a damn. It pissed him off.
26. Bacon Ballad (01-09: The Lost Tracks -- 2005)
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Although on the surface, this appears to be a melodramatic ode to the wonderful salty meat product which is bacon, I had originally begun to develop the track, thinking about a certain girl from the internet, and how it would be incredibly difficult to see her. Being an sheepish and immature student with no musical talent though, the chords stayed, and the subject instead turned to bacon.
25. Frustration Unusual (No Tech -- 2004)
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This was the same too. Composed thinking about a particular girl from days past, following news I had heard about her. The track itself doesn’t have anything in connection with said event, but my personal connection remains, hence this track is one of my favorites.
24. HAPPY LIVES EXCLUDE ME (Your Mums Face -- 2006)
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In 2006, I heard, almost identical news, although the circumstances were much different. When I composed this track, I was genuinely angry, upset and confused. Its reflected somewhat in the track, by its non-sequential and erratic chord progression, however I’m not satisfied with how it turned out. I’d persue another treatment of this one, but I doubt I could ever feel what I felt when I had composed it.
23. Maybe you guys want ambient again (Your Mums Gay -- 2007)
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Originally composed as a total piss-take, trying to create a track I’d not create in a million years, this infact turned out to be one of my best melodic compositions. Vocals aside, I’ve touched this track up for my “Best Of 2001-2009″ album that’ll arrive in the future.
22. Waterbitch (CLIFFCORE (Single) -- 2009)
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This is one of my many attempts to be POGO! I had initially begun with this track, and slowly it became something between slow dubstep, and trip-hop. Totally not what I was going for, but still it has its own merits. This was going to be on an album, but it had sat in limbo for almost half a year, so I decided to release it as a B-side for CLIFFCORE.
21. You remind me of shit (No Tech -- 2005)
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Another track where I didn’t really set out to make anything in particular, but somehow I ended up with an atmospheric chord progression thanks to the brilliant pad samples. I somehow ended up with a ton of these kind of tracks around 2005′ish, before I progressed into the stupid noise that was the “Your Mum” series.
20. Get your Boobs Out (There’s a party in my head, and you’re all invitied! -- 2009)
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I only made this track because my housemate just kept bugging me. I originally started to create a beat ontop of some Amiga “Addams Family” music, when Shaw walked in, and demanded we rapped. We went ahead, and made the track. Almost it was made in Summer 2009 for a select few, the track has never been released publicly. I’ve touched it up, and it’ll debut as part of my upcoming album.
Jon Shaw records lyrics for "Get Your Boobs Out"
19. lisa’s brass fetish gang (01-09: The Remixes -- 2009)
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One afternoon, I was tidying my room, and somehow, “Lisa put your saxaphone away” ended up in my head on a loop. No idea how, so I jotted it down in FL Studio, and got this riff going. Another experiment in sample slicing, with great results!
18. EVERYBODY STILL LOVES POKEMON (01-09: The Remixes -- 2006)
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Another university dick around as part of my “Your Mum” series, although I pulled all the stops for this one. Proper banging and loud.
17. Theres a party in my head (Theres a party in my head, and you’re all invited! -- 2010)
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In the words of Roger Radcliffe, melody first and then the lyrics! Well, it didn’t quite work out with that philosophy in mind. I had indeed composed the melody first off, another melody that just came to my head for some strange reason. I had completed the track also, but then it was the very last minute I decided to add vocals. I did my usual mrSimon things, and added stupid lyrics about semen, which didn’t really do much for the people I showed the track to. It came to creating new lyrics, and I couldn’t think of any.. and then it all just came to me, and the track morphed into a sad tale of a dying party animal, replaying those memories over and over in his mind. Although the album title tackled this concept with humor, I like to think this tracks a little deeper. I’m sure I’ll appriciate this track like I do most my others in the years following the albums eventual release. Its not often now that I create more atmospheric tracks like these, but I think I’ve nailed capturing my mood now.
16. Mental (Subconcious Gig) (01-09: The Remixes -- 2005)
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This here is the beginning of the mrSimon I’ve become, and the mrSimon I’m most known for. Frantic, crazy, mashups of various songs from all over the world. I initially started this track, a little drunk, a night to myself while others were at some rock festival I didn’t give two shits about. It started as a stupid collection of noise, but progressivly got a little darker and louder. This style would be reflected in a ton of tracks I created in the future, I’d honestly call this the GAYCORE of 2005.
Me, drunked up the night I made "Mental"
15. capitals arn’t funny anymore (Your Mums Face -- 2006)
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I created this track for exactly the same reasons I created “HAPPY LIVES EXCLUDE ME”, the same event, the same news, the same girl.. only a week later, when I evaluated the entire situation. This song’s probably got the most beautiful melody I’ve created, and it debuted on a “Your Mum” EP, immediately after “HAPPY LIVES EXCLUDE ME”, and I’m immensely proud of it. What sad though, is she’s probably never heard it.
14. Pure Imagination (01-09: The Remixes -- 2005)
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The first year of university was over, and it seemed like there was no care in the world. A full two months to myself, my sister also off school term with little homework. My brother chilled in his nearby apartment, and the sun was out, it was a glorious summer. For me, this Pure Imagination remix reminds me of technically a fairly recent time, where I didn’t have to care about a single thing, an occasion I’d imagine will grow increasingly rare now I’m a full-time working adult. Although I released the track, I’m not satisfied with it. A bunch of sounds are hissy and low quality, but that doesn’t take away from the vibe in my opinion.
13. CLIFFCORE (CLIFFCORE (Single) -- 2009)
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2009 was the year I stopped talking about being passionate about particular kinds of music, and actually started giving a damn. Visiting Glastonbury, and seeing many artists perform live, as well as keeping up to date on underground dance music on music blogs, I started to explore the world of music, and made a huge discovery. There is still an electro house scene, the kind of house vibes that were felt in the late 90’s thanks to tracks like “Stardust -- Music Sounds Better With You” are starting to emerge again. I decided electro house is my favourite genre, and that its something I want to actively pursue. CLIFFCORE was my first attempt at this kind of music, and I’d say for a first shot, I was moderately successful. However, like other genre’s I’ve attempted, its something I’d like to spend the near future refining.
12. Only Jesus (Your Mums Face -- 2005)
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This was another incident, another girl. Immediately after said incident, I composed “OPTICAL MICE”, the darkest, most abstract and unlistenable track I’ve ever created. I didn’t know what to feel, except pain, it was the only thing that made sense. The days following this incident, I didn’t do much. It was one morning, I didn’t want to move, its rare of me but I pulled a sickie from work (As expected, it was no big deal at all next time I went in). Instead of work though that morning, I started to occupy the time with more music making. I just had to make something. Out of that came Only Jesus, an unusually happy track that came out of this unpleasant spell.
11. NOBODY STOPS MY FUCKING TUNES (2010 Euphoric Remix) (01-09: Greatest Hits -- 2010)
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Originally a loud, noisy red herring for my first “Your Mum” EP, NOBODY STOPS MY FUCKING TUNES started with a stock guitar riff, then I began to sing, and the track slowly descended into madness. This 2010 remix utilizes the same lyrics recorded in 2005, but expresses them more as a proud celebration!
10. GAY SPRITE REMIX (Your Mums Face -- 2006)
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I had released a “Your Mums Face” EP, and shared it on the Clock Crew forums. A user known as “Spriteremixclock” then commented on it, calling it totally rubbish. The only reason I created “GAY SPRITE REMIX” was so that I could call him gay in one of my song titles. However, this one turned out ok. It was released as just filler, but over the years, the atmosphere in this one just sends me back to university. It must be the source I guess, but the filtered strings that kick in right in the middle just gives me pins and needles every time.
9. GAYCORE (GAYCORE (Single) -- 2008)
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What the fuck!? Yeah that’s right, GAYCORE isn’t top of my list. Although its one of the best things I’ve made, I value other tracks I’ve created much more than GAYCORE. What GAYCORE does though is bring together my style of creating stupid loud manic mashup remixes, into an orgy of total gay. This tracks one of my most popular created, probably due to the music video I released, but I’d like to think its down to the broad range of sounds I’ve got going in this one. Some of it sounds Shitmat, some of it sounds Prodigy. This is one of my best…. I just don’t particularly associate too much with it, so its not my favourite.
8. The Stupidest Thing I’ve Ever Made (There’s a party in my head, and you’re all invited! -- 2009)
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This one was created in one night, with the same kind of vibe Mental and GAYCORE had, although in my opinion, this one just sounds more raw, more fresh. You can hear how stupid the entire thing is throughout, theres not a single moment where its meant to be serious. I feel more for this track than I do for GAYCORE, even though GAYCORE is technically superior.
7. FND (Your Mums Gay -- 2006)
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This is a little ode to the university FND (Friday Night Disco), how it was always the same thing, with little benefit to everybody, yet its the thing I loved and the thing I’ve grown to miss. I started the track immediately after one, and with the help of an obscure riff from one of my sisters Card-Captor movies, some kind of dark, mystical riff got the entire thing going. I’m totally reworking this one for my best of album.
6. Life Begins in a Van (Your Mums Face -- 2006)
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This track came about in the same way WYSIWYG did, as a riff created for a Sheezyart.com flash loop. I ended up extended it though, and recording stupid improv lyrics as I did back then. Vaguely thinking over how The Prodigy began as a group according to Wikipedia, these stupid stupid lyrics came about, and to me, this track acts as the peak of my “silly improv” style I had going back in university. Theres a naivety, and randomness with this track that just makes be proud to be significantly less intelligent than most people.
5. Foundation Day (Theres a party in my head, and you’re all invitied! -- 2010)
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For years, I had considered the age of the “Bender Boys” to be the peak in my life, but realized, it was not really the people, or the music or even the place forever set in the stone that is time. Hell, if I were to win the lottery, I could acquire that place, but it wouldn’t be the same at all. What I missed was the experience in those days, where I wasn’t quite a kid, and I wasn’t quite a teenager. One of those experiences was the Letchworth Foundation Day 1998, what was essentially a night-time festival, fun-fair and fireworks. There was a strange feeling though, in this huge rural space, the smell of smoke fumes, hot dogs and mustard, and the mud below my feet. Feeling a little faint from the walking and fireworks, a Beegees remix blaring across the countryside on huge speakers, and lasers shooting across the sky, it was a, surreal, spectical, that eventually faded and never returned again. The events happened, its set in stone, but the memory exists. But memories are flawed, memories change.. The night felt something like what these ancient warehouse raves should feel like, but in the words of the old nursery rhyme, what if life’s but a dream? What if it were a rave? The memory mutated, and became something spectacular, which never existed, like most of my memories. This song is the audible recreation of that memory.
4. Looking (01-09: Greatest Hits, 2010)
Original:
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2010 Mix:
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Ok, I wont beat about the bush. “Looking for something” was a track I created after I had learnt the house-mates I spent my first year of university with no longer wanted to live with me. Jerks. However, back then, I couldn’t particularly express myself too well. I made “Looking For Something” which debuted with my album “No Tech”, but I was completely underwealmed by it. Five years later though, I felt like giving it another stab. The question was though, could I capture those feelings I felt back in 2005, and the honest answer, totally. I’ve created a mix which I hope better compliments the event. I plan to make a proper video for this track.
3. Diamond Dreams (Theres a party in my head, and you’re all invitied! -- 2010)
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The purpose of “Theres a party in my head, and you’re all invited” is to signify to people that I’m taking my music a little more seriously. “Diamond Dreams” achieves that in the best way out of all the tracks in my opinion. Although its not as technical as other tracks, I feel its the best sounding track on the entire album. Its a staple in my opinion, a point in time where I finally realized what kind of music I want to create. Created in the same frame of mind that CLIFFCORE was, I feel this track is infinatly more well executed, and I pray to god that it blows peoples minds when I debut it in a few months.
Me as I look now. An image I'll be using in relation to my latest album, "Theres a Party in my head, and you're all invited!".
2. Nowhere (01-09: Best Of -- 2010)
Original:
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2010 Mix:
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Originally, I had produced this track for the “Your Mum” series as filler, but I had the emotion behind it. I left a house party a little early. There, a girl, lost in dance, had been giving the odd look, obviously looking for a little fun, but I declined, I didn’t think it was my style or something. But upon reflection, I realized I had made a mistake, it was a house party I should have embraced. Five years later, its a fact that has a much larger meaning now. University was a time to embrace every idle moment. Although I feel I did in most of the FND’s, there were definatly occasions where I didn’t, and that I will forever regret.. I was fit, and I had all the time and money to burn. I began a remix last summer, which is now much deeper, both in atmosphere and meaning. I hope to find a real singer for this one.
1. Snow Village (Theres a party in my head, and you’re all invitied! -- 2010)
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I had originally started this track as a POGO parody. I figured, what track could I create in the style of POGO, only using something he’d probably never want to touch. I began developing the track, but then a really, really moody vibe began to emurge, which I ran with, and as I continued the track, I found myself lost in its sound. I feel that I use slicing super well in this track, it sounds very good, blah blah blah… But to me, this goes much much deeper. Throughout my life as a teenager and a young adult, theres been a constant, which have defined so many lives, which has shaped me as a person, given me character, given me something to talk about and very rarely, given me emotion. That thing is South Park. In the adolescent alcohol filled environment of my brothers room back in 1998, South Park was there, I’d watch it with my sister, and laugh at its ridiculous and radical obscene humour. In boarding school, although the staff had done their best to blacklist the show, South Park was there. We’d tell tales of the latest escapades from the Mountain town, as well as sneak to watch the movie. When I met somebody on the internet, South Park was there, it was one of the biggest things we both loved, and thus we grew a stonger bond thanks to it. But even after we split, South Park remains. The premise has changed, the way the show is presented has, but at its core, its the same characters and the same town. The same could be said of me, through the years, I’ve changed immensly, but theres been a chunk of personality that never has. I digress though. To me, South Park is the staple in time that sends me back to these memories, and keeps them alive. Its the relic in my mind, that keeps those places and people with me, even though they’re gone forever.
