ORIGINAL MUSIC DISCOGRAPHY
Debut Ep
Your Vertigo – co-produced and written with my talented friend Marcus. He raps the verses while I sing the opening of verse 1, chorus, outro, with both of us in the bridge bouncing off each other. Tells a story of an intimate summer fling, knowing it’s temporary but still making the most of it “cause we’ll never be this young”, production inspired by 2010s pop
Cherry Blossom – entirely self made. Very 80s inspired production with heavy bass, synths and percussion. The longest song on the EP at 4mins 30secs. The outro is a heavenly instrumental solo. The most explicit song I’ve ever made, cherry blossom is a sacred flower and the lyrics are a double entendre
Closer to you – entirely self made, explores love themes but in a radio friendly way unlike the last song. The song is like if a proposal was a song. When I produced this one, I was inspired by DJs such as Kaytranada for the style of bass and percussion. Short and concise track
Yesterday – My favourite Beatles song that explores yearning for the simple times of love. Completely different production style but same lyrics and vocal melody as the original. This cover’s been on my YouTube for a while and is the oldest recording on this project
Drive to my oasis
Accelerate
We can’t be late
Our love is in ignition
In overdrive
And I feel alive
You know that it’s tradition
Let’s get in the car
And go somewhere that make me feel like my life’s a simulation
That’s my destination
We’ll go somewhere far
Till we don’t where we are in the final situation
There’s still hesitation
Start the power
Go fucking crazy
Just one hour
Till you amaze me
Nothing matters
Till we get hazy
I can’t drive to my oasis cause I’m driving to your mind
But it’s still driving me crazy how are we so out of line
We accelerate
Now it’s getting late
Every single time
I can’t drive to my oasis cause I’m driving to your mind
Regenerate
Till I levitate
In all this contenplation
I can’t survive
I don’t feel alive
have I lost navigation
Let’s get in the car
And go somewhere that make me feel I’m high on medication
So many temptations
We’ll go somewhere far
There will be steers and turns and all rotations
Till we feel liberation
Start the power
Go fucking crazy
Just one hour
Till you amaze me
Nothing matters
Till we get hazy
I can’t drive to my oasis cause I’m driving to your mind
But it’s still driving me crazy how are we so out of line
We accelerate
Now it’s getting late
Every single time
I can’t drive to my oasis cause I’m driving to your mind
I’M Not Alive today
“I’m Not Alive Today” is an introspective pop anthem that showcases the ability to blend vulnerability with high-energy production. The track opens with a moody, synth-laden melody, setting the tone for the emotional journey ahead. The track delivers raw, heartfelt lyrics that speak the feeling of emotional numbness, a sentiment many listeners will find relatable. The chorus is undeniably catchy. The repetition drives home the sense of disconnect, while the pulsing beats and atmospheric layers of electronic elements create a sense of urgency. Vocally, shining, with smooth, expressive vocal delivery carrying the weight of the song’s sombre theme. Heavy production, lifted the song momentarily before dropping back into its darker undertones. This song was released for the Halloween season! The production is polished and contemporary, incorporating elements of synth-pop and electro-pop that give it a modern, radio-friendly feel. Lyrically, the song captures the complexity of emotions that come with feeling lost or disconnected in a fast-paced world. It’s introspective without being overly indulgent, and the simplicity of the message ensures it resonates with a wide audience.
TIME KILLS
“Times Kills” is a deep blend of pop-rock elements that pulls the listener into a whirlwind of emotions. Right from the opening the track commands attention with its gritty yet polished production. The song balances energetic music instrumentation with catchy pop hooks, creating raw sound. The lead vocals are passionate and dynamic, delivering the song’s message of time slipping away with a sense of vulnerability. The vocal delivery transitions between mellow verses and powerful choruses perfectly complements the lyrics’ thematic contrast between moments of reflection. The bassline provides a solid foundation to create a driving momentum that keeps the track moving forward. There’s also a subtle use of synths in the background, adding depth without overwhelming the core. Lyrically, “Times Kills” explores the idea of time as to capture the anxiety of watching time pass without fully seizing the moment. There is also isolated audio in the production that goes from left to right ear, meaning use headphones to get the most immersive listening experience
FRESH AIR
This new track has infectious melodies with heartfelt lyrics, and it’s quickly making waves. The vocals come in with a smooth yet raspy quality that’s both captivating and emotive. The chorus is where the song shines; it’s anthemic and designed for sing-alongs, with a hook that’s hard to forget. Infectious catchy melodies that stick with you long after the song has ended. Lyrically, the song explores themes of hope and resilience, framed within the context of navigating uncertainty. Lines has the ability to blend personal introspection. The song’s production and composition could be improvement so that it be more supportive to the theme with an uplifting arrangement. The bridge introduces a moment of vulnerability, where the voice takes on a more reflective tone, contrasting with the driving energy of the rest of the track. The song is about the desire to escape from the chaos into the calm, peace is a breath of fresh air
FLYING SAUCERS
Flying Saucers” is an imaginative and engaging pop track that showcases my strengths as both a songwriter. It’s a song that invites listeners to escape into its world, offering a perfect blend of clever lyrics. The track begins with cosmic journey through its infectious beats and imaginative lyrics. Your vocal delivery is smooth and sincere, showcasing his ability to convey vulnerability without losing the song’s up beat energy. From the moment the song begins, you’re greeted with a pulsating synth line that feels both futuristic and nostalgic, reminiscent of classic 80s pop with a modern twist. The use of electronic elements, such as the arpeggiated synths and spacey effects, enhances the otherworldly theme of the song. Overall in production there is a room if improvement yet The bassline is deep and resonant, providing a solid foundation for the track, while the layered vocals in the chorus add a sense of depth and texture.
Robotic
One of the most striking elements of this track is the integration of robotic sounds. Rather than overwhelming the listener, these sounds are woven seamlessly into the fabric of the music, adding a futuristic touch without detracting from the song’s emotional core. The strumming of music, paired with a soothing bass line, creates a foundation that feels both organic and meticulously crafted. It’s a perfect example of how soft rock can be both relaxing and intellectually engaging. The musical last start seems interesting! The hook ups lines are perfectly blended well! Loved the slow-down end of the track. There is a change of octave from the first to second chorus to add more emotion. The harmonies are rich and layered, enhancing the overall sense of serenity that the track aims to convey.
RUBATOSIS
The song’s name “Rubatosis ” is unique and very well defined throughout the track – the definition being the unsettling awareness of one’s own heartbeat. The carefully crafted beats patterns and bassline create a solid foundation, driving the track forward with an irresistible groove that permeates every verse. The clever wordplay, metaphors, and storytelling elements showcase prowess as both a wordsmith and a storyteller, engaging the listener from start to finish. The balance between the vocals and the instrumental is good, ensuring that the message is conveyed effectively without losing the essence of the captivating beat. Most brilliant part is the sound of chorus while the bridge provides a moment before the song charges back into its melody
Mount Kilimanjaro
Is a high-energy pop rock anthem about being higher than the mountain, which showcases signature blend of catchy melodies and soulful vocals. From the moment the track kicks off, it’s immediately apparent that a sound that’s both contemporary and nostalgic, with influences ranging from 80s rock legends to modern pop icons.
The production is slick and polished, with driving guitar riffs and an infectious rhythm section that propels the song forward.
The chorus is particularly memorable, featuring an anthemic hook that’s bound to get stuck in your head after just one listen.
The vocal performance is top-notch, delivering a mix of grit and emotion that perfectly complements the track’s upbeat vibe. Lyrically, explores themes of resilience, with singing about the power of connection and the strength found in vulnerability. The song writing is both personal and relatable, making it easy for listeners to connect with the message on a deeper level.
Aroma
An upbeat party song with dark undertones particularly in the lyrics. The song combines trap, pop and dance to create an unforgettable anti-love anthem. The song was released on Valentines Day which I chose because of the poignant message against stagnant romance. The song does not contain swear words but has an explicit nature, particularly in the first verse. Aroma highlights the ways romance and dopamine control our decisions. The song uses upbeat melodies and catchy wordplay to express how romance can consume the soul, comparing it to substances. The song is entirely self-produced using Soundtrap and Logic Pro X. I wrote and produced this song in 2021 after a lockdown relationship which ended sourly. A rising star is in the aroma.
Are You Still the Same Person?
The focus lyrically being more so longing and missing someone who has changed. The song conveys doubt and pain of a past relationship. The song has a bittersweet energy despite still being an upbeat track. The song has a powerful bass and percussion that captures the yearning of the past. The acceptance that the connection will never be what once was.
Reminiscing a powerful past relationship, from the perspective now that time has passed. The song doesn’t wish for things to be different, it instead is about acceptance that change is inevitable. The music video which will be released on the same day also capturing the reflection of past love.
The song uses a gentle guitar rhythm that sways and gives the vibe of spiralling. This relates to how the self-written lyrics are spiralling thoughts of the past, understanding that the split was necessary. I also use a heavy bass to passionately portray how hard hitting these memories are to me. The instrumentals are self produced using Soundtrap, vocals were then added and mastered in Logic Pro X.
The music video was filmed in various locations in North West UK. Locations include Moreton Corbet Castle (also the location of the single artwork), Queen’s Park and the George’s playing fields in Crewe, Brereton Heath nature reserve and woods in Shropshire.
Friday the 13th
The song is a reflection of times where I’ve fallen too deep in love with casual flings. The song is a journey of growth of self-worth, conveying that you know the truth of casual flings and that they are temporary. Lyrics self written. Instrumentals self-produced using Logic Pro and Soundtrap. Vocal layering and mastering done by just me again.
I chose the date ‘Friday the 13th’ because it parallels how the lover shows interest ‘once in a blue moon’ the same way how often the date appears in a calendar.
Visuals starring the lovely Sona Areej as the female love interest, and myself.
Indoor scenes were filmed in LJMU’s Redmond’s Building using projectors and free to license Adobe Stock footage. The projection scenes were filmed by myself technically with a tripod.
Green Screen Scenes of me falling were also filmed in Redmonds, thanks to Joe Thorne for holding the chair i purposely fell from. Thanks to Fabian Nowak for filming me. I fell onto an air mattress covered in green fabric. For the shoot, I had to bring the mattress with me and back on a train to Liverpool from Crewe.
Outdoor scenes were filmed by Fabian Nowak and Luke Torrington in Liverpool Albert Docks and on the roof of the John Lennon Art & Design building
