My songwriting in 2010 had quite a two-partsness, with half of the works being rock songs not far from my general output, and the other half having a more acoustic, singer-songwriter basis. Each side became a six-track EP, available for free download.
For no reason, let's address Choking Poetry EP first, where I honed confrontational power-chording.
1. A Lie Like You
There's a slight rule I've noticed with good pop and rock albums and that's to start with one of the No Nonsense-est. Hence, this. Riff, verse, chorus, a few more of those and then done. Pow.
There isn't very far for the voice to go on this one, sadly.
Once that's out of the way, we can process The Long One. I wanted a riff that actually lasts more than a few seconds, wrote it (11 seconds, incidentally), and surrounded that with some heavy melodic rock. This is for those that the world was not made for. A personal favourite.
3. Choking Poetry
A plea against self-inflicted tragedy. I take pride in how this one builds bit-by-bit without betraying any pop sensibilities, and its technically-goofy melodic ideas gain an earnestness in context. It lends well to solo performance, and I wouldn't mind if this is the Paper Truth 'signature song'.
4. How Dare You?
The most bile, the fewest guitars, the most sarcastic beat-clapping ever synthesised. I now believe that this song would work very well as a guitarry punkstorm, maybe more so than the subdued roborock it exists as here. However, that wouldn't complement the EP's flow like this. A particular feature here is the presence of bass guitar without any other guitars; it is the bass alone that really conveys a sense of 'rock', amongst pianos and mid-tempo drums.
It had been a mission for a while to have a song with one of those semi-rapped, ever-intensifying codas. Honestly, everything else exists as a set-up, but still makes for a catchy little song deserving of that end. It's a nice riff and I like the way the 'chorus' bit ("It wasn't quite...") keeps rolling.
the track's incidental filename, being my 155th piece on that machine,
its tempo in BPM,
the number of bars in the piece,
and part of the lyrics.
6. Growing Up
When sycophants are sinking fast. Each performer should only have one song with such staccato-urgency every few years, and I'm happy with this for now. There's a massive Elliott Smith lyrical lift in there.
Each of these six songs was somewhat written to satisfy a different favourite trope from rock music, without limiting creativity. And, as far as I can tell, they do that, so hurray. On top of the classic rock band set-up, the synths sound unique without being too silly, methinks.