
"Tiny" Songs
During the pandemic, I started recording quick multi-track demos of 5-30 second songs. That's why they were "Tiny Songs". The AI renditions may have lengthened them a bit. (2020-2022)
·
15 songs
2:05

Match Game Ticket
v4.5+
Hard rock in its rawest form—distorted guitars grind through a blown-out amp, thick and gritty, laying down a riff that feels like dragging steel across concrete, The bass snarls in sync with the kick drum, driving a deep, relentless groove, Drums hit dry and hard—cracked snare, pounding toms, cymbals crashing like a fight breaking out, Vocals are barked more than sung—raspy, unfiltered, doubled on the chorus, dry and up-close in the verses, The track moves fast, loud, and unapologetic, No polish, no airbrushing—just sweat, hiss, and bad attitude, It builds pressure, then drops out for a breath before slamming back in like a boot through drywall, You didn’t buy a Match Game ticket to play fair, You bought it to burn the booth down
3:34

Kinda
v4.5+
A softly mic’d acoustic guitar, heavy with fret and breath, drifts through a slow, unhurried groove, Dry, close vocals—raspy, intimate—hover over minimal backing, Reversed fuzz guitar swells subtly, ghostly and melodic, Sparse brushed snare or faint kick whispers below, all wrapped in gentle tape warmth and a hushed, clean cassette mix
3:18

Can't Handle
v4.5+
Slow-burning acoustic blues with a raw, cinematic edge: close-mic’d acoustic guitar, woody and percussive, every fret squeak and thumb thump vivid, Dry, rich lead vocal—raspy, whiskey-warm—with ghostly harmonies subtly blending in, Minimal upright bass, tube-warmed, each note intentional; bow swells in bridge/final chorus, Brushed snare and fluttering kick set a heartbeat pace, Droning harmonium threads Cale-like tension, slide guitar moans distantly, Occasional, nearly subliminal reverse reverb swells, Production is lo-fi yet intentional—present, natural room echo, alive and alone
2:48

Coffee on My Eyes
v4.5+
A lush psych-pop track led by electric piano and Hammond organ, layered with phased, overdriven guitars, Melodic walking bass glides beneath crisp vintage drums, Verses linger with swirling synths; choruses expand with soaring guitar leads and rich stacked harmonies, The outro unfolds into a psychedelic, semi-improvised jam, fading on echo-drenched organ swells
0:32

2:14

tape recorder, lo-fi, unprofessional, one voice, no instruments, tape hiss, rat man making sounds in a microphone to see what they sound like
1:37

A mid-tempo, blues-touched rock track with a loose, playful spirit, Clean electric guitar lays down a jangly, tremolo-laced riff while the bass walks confidently beneath, The drums shuffle with vintage flair, giving the whole track a live, spontaneous feel, Vocals come in with a distinct Wings-era rasp—melodic, slightly goofy, but sung with full conviction, "Seaborne Sallie" repeats like a name etched in sea mist, the chorus rising with Macca-esque woahs and puzzled longing, It’s equal parts homage, joke, and real emotion—like something you’d find on a forgotten B-side between "Let Me Roll It" and a bottle of cheap port, ‑female vocals
1:49

Grater
v4.5+
ghostly unison wavers during the verse, Then a dissonant voice howls out the chorus, Lynchian
1:21

0:24

1:17

Dorothy's Dream
v4.5+
A relentless electro-pop track, driven by pulsating synths, glitchy computer effects, and a tight, mechanical beat, Ethereal, androgynous vocals soar above, layered with crisp harmonies and digital vocoder textures, The production remains intense and intricate from start to finish
2:39

Being a Dick
v4.5+
British invasion blues rock with a driving rhythm section and a prominent male lead vocal, The song is in a major key at a moderate tempo, Light distortion, cymbal crashes wash chaotically over the throbbing bass, Harmonies grow richly throughout, Instrumentation includes guitar, bass guitar, and drums, The guitar plays a rhythmic strumming pattern with occasional melodic fills, The bass guitar provides a walking bass line, The drums maintain a steady 4/4 beat with a strong backbeat on the snare, The male lead vocal is delivered in a clear, slightly raspy baritone, with a call-and-response feel in the chorus, The vocal melody is simple and repetitive, emphasizing the rhythmic nature of the song, Production is clean with a natural room sound, minimal effects, and a balanced mix

