What if, between the original classic Tron and the upcoming Tron 2: Legacy, there were another Tron movie, lost forever in cinematic history? Between the soaring score by Wendy Carlos for the original and Legacy’s Daft Punk music, what would the soundtrack have sounded like? Of course, it would have absolutely had some Journey in it.

Such a movie was rumored, but as with so many projects, leaves behind no evidence. What if it had left a score you could hear? The mysterious “Flynn 1.5″ writes to share a free, downloadable soundtrack that answers that question.

And you can argue with an album that begins out with “For the Love of ENCOM”? Indeed. You can stream the full album and download all but the Journey remix. Read the full “backstory” after the jump.

Tron moniker or no, the results are some lovely music, featuring the likes of Tiger Mendoza, Team9, artist and CDM regular reader Lilith The Kitten, and ringleader World Famous Audio Hacker, among others. (Trivia – Tiger Mendoza has his own, Creative Commons-licensed album, and Team9 earned notoriety for a mash-up collaboration with Green Day.)

In late 1998, I was commissioned to compile and produce the soundtrack for a sequel to the film “Tron”. A draft of the story had already been written and early filming had begun (as reported by ZDNet on July 27, 1999). As I understand it, the film was kept in great confidence with the producers as Pixar was still in negotiations with Disney about the responsibilities of the production teams.

“Rise Of The Virals” was a fantastic, but much darker storyline from the original — different from the “Into The Machine” pitch made to Disney by another party. It involved updating the ENCOM universe to a networked system (thanks to the Internet), but also created a darker world — full of programs abandoned as buggy systems (or “mutants”) and abused by corrupt users as viral systems. Furthermore, the story included the death of Flynn and presented questions about the digital life of programs lasting beyond the mortality of their creators — the users.

My task was to compile great underground artists to create a new soundtrack for this darker world of Tron. After the completion of the initial tracklist and first production draft of the soundtrack, it seemed as if negotiations between Pixar and Disney had broken down. Funding for the project was eventually pulled.

I have been most excited to see the announcement of the third film, the new “TR2N” (Tron: Legacy), especially with the involvement of those who will be creating the new soundtrack. It is obvious to me that “Tron: Legacy” takes place after “The Rise Of The Virals” without abandoning its first concept. Perhaps that is why we’ve seen sites like Flynn Lives creep up in anticipation of the new film.

I’ve decided to release the preliminary version of the soundtrack which includes a special remix of Journey’s “Any Way You Want It” produced specifically for “Rise Of The Virals”. Journey provided two songs to the original “Tron”, and their song “Separate Ways” will reportedly be on the “Legacy” soundtrack as well. In any case, since the story of “Rise Of The Virals” takes place between the first “Tron” film and the upcoming “Tron 2: Legacy”, I can’t think of a better title for this material other than “Tron 1.5″. I hope you enjoy the music these artists have put such great work into.

– Flynn 1.5

Tron 1.5: “Rise Of The Virals”
(Digitally Remastered)

1. “For The Love Of ENCOM” (4:16) (Team9)
2. “Askew” (5:08) (Solcofn)
3. “Build A Better Lightcycle” (3:24) (Tiger Mendoza)
4. “Rise Of The Virals” (3:37) (World Famous Audio Hacker)
5. “Any Way You Want It” (4:30) (Rhythm Scholar Syntax Error Remix)
6. “Electro City” (5:24) (Lilith The Kitten)
7. “March To Silicon Palace” (3:34) (Future Sound Of Tron)
8. “Lora’s Theme” (4:34) (Team9)
9. “Technojazz” (5:56) (Solcofn)
10. “Love Theme” (4:11) (Tiger Mendoza)
11. “Paranoid Space” (2:45) (Tiger Mendoza)
12. “T128.Flynn.FK@yf” (6:30) (EBNC)
13. “Core Dump” (6:01) (Lilith The Kitten)
14. “Means To An End” (8:00) (Solcofn)
15. “Theme From Tron 105″ (1:26) (Carl Walters)

The full album is available for free download at http://tron.fm/

It may be 2009, but you can still play electronic music as though you’re an invading alien visitor from the future. Just ask The Sonic Manipulator, an electronic musical performer and inventor, alias Claude Woodward. His musical creations range from warped radios to instruments derived from turntable scratches and Theremins. And then there are some instruments that seem to be sonic weapons. (Apologies to recent protesters in Pittsburgh.)

CDM reader Andrew Cordani caught Claude at the UK’s British Invention Show. Claude is apparently a Perth, Australia transplant, by way of Cambridge, though Andrew writes that he “has been known to travel about a bit (Mars, Venus, Jupiter, Alpha Centauri, Epsilon Indi, Teegarden’s star and further).”

Andrew describes Claude’s other creations:

Met at the British Invention Show (http://www.britishinventionshow.com/show/index.html), at Alexandra Palace (http://en.wikipedia.org/wiki/Alexandra_Palace)
(Organized by [MP3 player inventor] Kane Kramer – http://en.wikipedia.org/wiki/Kane_Kramer)

http://www.youtube.com/user/sonicmanipulator

http://www.sonicmanipulator.com/

http://www.sonicmanipulator.com/Inventions.htm

The Claude-a-tron – a sort of pre-wireless (i.e. wired) Theremin – and is “Way cool”

The Radiolian a lot of fun – Essentially triggerable (pre-recorded) radio samples – Used to switch-between radio programs (reminds me of http://www.neave.com/television/ )

The Greet-o-metre + The Transatron should be given out to all travellers, interstellar or not!

(My fave was the Rap Rod – which does for scratching what CDs did for vinyl. The Bash-a-tron was a close second, though)

Definitely check the Sonic Manipulator site for many, many more bizarre creations if the one at top doesn’t impress you. See a couple of my faves at bottom.

Fans of DIY, the whole event sounds fantastic! Thanks, Andrew, who can be found here (with his own futuristic creations):
http://midisticks.ltd.uk/

BIRDY NAM NAM – THE PARACHUTE ENDING from Steve Scott on Vimeo.

This is the music video you’ve always dreamed of getting when your track gets a music video. It’s been round the Web a few months ago, but I only discovered it today via the lovely 8-bit punk Anamanaguchi (see our interview), on their Twitter feed. It’s like what you worked out when bored in grade school Chemistry class with your best friend who planned to become a comic book artist for a career, scrawled in the margins of your notebook. There’s an evil Egyptian alien sarcophagus shooting what appears to be evil sugar cubes from orbit. There’s a crazy space alien superhero who’s all Shriner and Freemason and gets special powers when he replaces his hand with a vegetable squid … thing. And good triumphs over evil, which is what we all root for. It’s the sort of trippy album art we don’t get any more, but animated.

The animation, creative direction, and concept are by Will Sweeney, who under the name Alakazam Label makes fantastic, far-out illustrations, toys, and animations with edible acid-neon colors, and hamburgers for heads, and organic tendrils like pasta or vines or tentacles wrapped through the dreamscapes. You can see more of Sweeney’s work:

http://alakazamlabel.com/

Steve Scott directed the video, did concept design, and did his own compositing, which shows you he knows his stuff. Scott, based in Australia, has his own brilliantly wonderful stuff.

Birdy Nam Nam are a French DJ crew, cool enough to name drop Peter Sellers references in their actual name. They’re proper turntablists in a world in which that has become a rarity, with the prizes to match. Remix did a good write-up of their work in 2006; the best way to keep up with them now is to follow MySpace and, unfortunately for the world’s other continents, to live in Europe.

Justice did the production, in case that wasn’t evident; the marriage works.

And, seriously, special squid vegetable hands?

Credits:

Will Sweeney – Concept designer and Illustrator
Steve Scott – Director, Concept designer and compositor

James Littlemore – Editor / Compositor
Geoff McDowall – Animator
Ed Willmore – Animator
Roland Edwards – Animator
Dele Nuga – Digital Painter

Lottie Hope – Producer
Dan O’Rourke – Executive Producer

Not To Scale – production

Thanks to Big Active

Theoretically, all of this could have gone on Create Digital Motion, but I love watching a video that makes me feel differently about the music. Having that experience, to me, is what it’s all about.

In a Hollywood overrun with remakes, a new Tron has quite a daunting challenge. The original film may be a cult hit for its 80s arcade cool, but it also was a seminal moment in the evolution of computer animation, at the nexus of obsessive-compulsive optical effects that came before and digital effects that came after. (Google Perlin Noise, if you must.) But where the bits of the effects look uneven or dated alongside the brilliant, it’s nearly impossible to top the genius of Wendy Carlos’ score. Her deft blend of choirs, orchestras, organs, and rich electronics wasn’t just forward looking: it’s fresh today, an alternative to some of the signature sameness in today’s games and films.

Perhaps Tron Legacy will do what other belated sequels have not: express love for the original. With Daft Punk helming the score and a reverent, inspired crew ready to make Tron live again, the trailer last week was the real sleeper hit of Comic-Con.

If that’s not enough layers of fandom, though, head to GearSlutz for a lesson in film scoring and a recreation of the trailer in Reason, custom Reaktor patches, and Ableton Live. This is not much of an infomercial for Live: because Ableton’s arrange view doesn’t quite understand frames, scoring with Live is a bit of a beast. (Live 9, anyone?) But it’s a great example of love for the movie and its original score. And hey, everyone need a source of joy, even a film.

Ableton Live for Sound Design :Tron Legacy [GearSlutz forum]

Stripped the original audio and redid all of the sound from scratch using Reason/NI Reaktor/Ableton Live 8. An M-Audio Axiom 49 was used to perform the Lightcycle Engine Oscillations

Wendy Carlos, if you’re out there, we get it. You revolutionized film scoring and electronic orchestration, and we’re all in your debt. It’s not so much that you switched on Bach or switched on Moog or even switched on Kubrick and guys in glowing skin-tight outfits. You switched on sound, and nothing has been quite the same since.

Now, we just have to hope 2010 can show us a good time, too.

Touchscreens are often compared to the ground-breaking – if imaginary – designs of Star Trek: The Next Generation. But Brazilian Paulo Egidio Silva must be a real Trekker. His elaborate touchscreen panel configuration really looks like the LCARS
computer system simulated on the TV show.

Of course, that isn’t to say this isn’t a practical system. By making extensive use of the MIDI SDK for Cubase, the Dragon MIDI rig controls every element of a Cubase session, from mixing to routing to adjusting plug-in parameters. It actually has three elements:

1. A multi-screen touchscreen for selecting mix and send settings and changing routings
2. A conventional motorized control surface (the Yamaha 01V96) for mixing on real faders
3. A hybrid of screen and physical gear, by which plug-in instruments get both an interactive screen and physical encoders

If Geordi LaForge happens to be your mix engineer, you’ll be ready. Here’s my understanding of how it breaks down. (I couldn’t find additional documentation beyond the video, so Paulo, if you’re out there, we’d love to hear from you!)

Touchscreen Panel: 16-strip mixer, controlling up to 128 tracks. The idea is to use the motorized mixer for physical mixer control, but jump between and record-arm tracks, sends, and the like using the touchscreen.

Virtual patch points: An additional screen provides sends and buses and a virtual patch bay for connecting them.

Panning: A graphical display lets you select pan position – apparently stereo only for now, but surround would be an obvious application.

Windows, shortcuts, zoom, etc.: Button shortcuts along the side of the screen and zoom encoders let you easily navigate your set and zoom around.

Screen with actual physical controllers: Plug-in parameters are mapped to a screen that has physical controllers on it. You see the parameters and position on the screen, but you actually tweak a real encoder. Look about four minutes into the video — the effect is really striking.

Special Liquid Mix shortcuts: The appeal of Focusrite’s Liquid Mix is virtualizing beloved vintage gear. But these guys take it quite a few steps further, with shortcut screens decorated with photos of the real gear.

A big thanks to Primus Luta (via Twitter) for finding this!

As seen on the SOUND ON SOUND forums.

Side note: just to illustrate how incredible the fake computer displays on the 1980s Star Trek series were, the “touch displays” were originally just backlit Plexiglass. And I think that, in turn, illustrates the value of doing design in the physical world before the virtual one – if they hadn’t had to work as real-world lighting displays before being translated to virtual animations, they might not have been as distinctive. Michael Okuda, the LCARS designer, likely had no idea he would influence later thinking about how real, functional touchscreens could work.

Update: Interview, specs, photos on Paulo’s studio (translated from Portuguese)

Ah, the BBC. Their world news sounds like an apocalyptic rave and their inexplicably long-running, trippy strange “children’s” sci-fi show has one of the greatest pieces of synthesized music ever.

I’m running out of ways to say Delia Derbyshire is one of the most brilliant composers ever to use electricity, so let’s just get straight on to the bit where Coldcut show up and hold a big musical party for the Beeb Radiophonic Workshop and do their own kickass remix of Who’s opening titles and sounds. (Making the classic Doctor Who video feedback seem psychedelic? Not really a challenge. And yet these episodes always wound up with wandering around a rock quarry…)

Coldcut were there, the wonderfully-talented Dick Mills and Mark Ayres… sounds delicious. I’m still waiting for the Derbyshire music release, and I think there’s still more that could be done to document the UK’s electronic history — CDM stands at your aid, ye worthy workshop of sound.

BBC Electric Proms 2008: Coldcut
Via Carter Rosenberg’s tumblr and
vdmx co-creator David Lublin’s Twitter

Because it must be done, let us also consider Orbital’s classic remix (thanks, gwenhwyfaer) – provided it doesn’t make you hide behind the sofa:

I actually hadn’t had time to watch my tech RSS feeds yesterday when I said I “lost half an hour dreaming of my new lounge-style studio where I adjust envelope breakpoints from a giant aluminum sphere like the one in Sleeper.”

But, anyway – wish granted!

*Disclaimer: The following video, while demonstrating some insanely cool tech, may bore you to tears. In response to reader requests, we feel it’s important to warn you.

Microsoft’s multi-touch Sphere plays crazy Pong [Boing Boing Gadgets]

Now, of course, researchers being researchers, Microsoft R&D has taken a massive sphere controller and turned it into a mind-achingly dull slide show. I, on the other hand, could imagine kinky sci-fi electronica being made with massive hand gestures, particles spinning through space representing sonic grains, and the like. Microsoft, if you’re looking to hire someone to do something interesting with your giant sphere, I’m sure I or any one of the readers of this site can make something that couldn’t be replicated with a Flickr account, a toy bouncy ball, and a projector. This is the power of musicians. You try to make something absurd useful, but not really. We make the absurdly useless awesome. (Case in point: modular synthesis. Hey, is anyone using these giant telephone switchboards? Mind if we invent a new kind of party and welcome aliens to our planet?)

That said, let’s talk about just how much this is like Woody Allen’s sci-fi parody classic Sleeper.

Woody Allen, tech visionary that he was, clearly foresaw rubbing giant balls as a major future breakthrough in interface design. (For what it’s worth, the same film also predicted the 180 in fad diets that would exonerate protein and fat.)

Not only did Woody Allen’s character get strangely high with a large sphere, but the movie even suggested how to productize a more portable version of the sphere, as seen at right. Microsoft Sphere Nano, anyone?

In the classic manner of the future aging, then becoming hip and retro again, I’m not the only one now coveting a Sleeper sphere. It seems none other than Kanye West is gathering lots of nude models and, in elaborate choreography for his stage show, having them enact a giant be-in with their spheres, inspired again by Woody Allen. See some photos on Flickr, not quite safe for work, depending on where you work. (Oddly, I think this now means Woody Allen and Kanye West have exactly the same fantasy.)

And it’s back to the future in other ways, too.

The classic Keracolor TV has come back into fashion, and (as of last summer, at least) was being remade in a new edition. You probably can’t afford one, but it would look great with the Orion synth you can’t afford – and notice that its hull is more properly rounded. (At least one reader yesterday complained the Orion wasn’t as rounded as it could be.)

Ironically, I think these 1968 designs look far more stylish and futuristic than Microsoft’s Sphere.

So, sorry, Microsoft. The future just isn’t what it used to be. Even Woody Allen’s future. And he was kidding.

The faux-Pan Am logo. The sleek, mod, curved white casing. The elegant controls. Yes, this is indeed a synth that would look at home in the space station in Kubrick’s 2001. Technically not the future so much as the 1960’s version of the future – but surely we’re getting around to reshaping our future to look more like that, right? At least for synths?

The synth in question is the Omega 8, a “luggable” 20-pound, 8-voice analog synth with individual stereo pairs for each voice. It’s really, truly, old-school analog, with discrete analog oscillators, voltage-controlled filters of the 24dB and 12dB variety, multi-stage envelopes, and all the extras. In the “new-school” category, though, it is MIDI savvy, with MIDI destinations for just about everything (including the envelope breakpoints) and even breath controller support. How do I know this? Why, off the top of my head, of course; I’ve got three. Erm. Okay, I read it on the old Omega 8 page, then lost half an hour dreaming of my new lounge-style studio where I adjust envelope breakpoints from a giant aluminum sphere like the one in Sleeper.

All of that luxury will set you back US$4700. (If you can do with fewer voices, you can get down to a more Earth-bound US$1679. But that’s only 10 pounds, so it must make half as much sound.) But normally, the Omega ships in a pedestrian-looking synth case, like every other synth. Enter the Orion rendition.

2008: An Orion Odyssey Teaser Page

Studio Electronics News

As the manufacturers say:

what is this? it is art. it is light. it is glorious design brought to life by Antoine Argentieres, the man, who sagely let his fondness for Stanley Kubrick’s past century enigmatic odyssian vision of the future (and re-visioning of pivotal past events) inspire a house fit for the majestic voice and verve of the Omega8––a cathedral of transformation; the great work of the synth; a mind before matter mystical alignment of awareness: light and sound waves that reveal the ORION GALAXY, expanding and growing and luminous.

I’m not sure it’s art, but it is spectacularly groovy. Studio Electronics also promises a special sound bank befitting its forward-looking body.

I’ve heard varying answers to what availability will be from “I can’t conceive how expensive this is” to “rumors say it’s a one-off.” For their part, SE says it’s

available now for those who "have the greatest enthusiasm and confidence in the mission.

There you have it. You just have to believe. You have to think really, really hard about how you want it, and believe in why it matters, and you’ll own it.

Okay, it must be really, really, really, really expensive.

But I do believe in the mission. Steampunk’s over, folks. So is arbitrarily sticking cheap knobs into a cardboard box and rendering a “polished aluminum sheen” on the case by using duct tape. Let’s get back to the future with our synth designs. (I’m encouraged by the fact that our friend Nostromo found this for us on the SDIY list, by way of the music bar list.)

You still have time to do something for 2010.

See also: Music thing (hmmm, Tom got the jump on me, so maybe I shouldn’t have gotten so lost in that reverie of owning the thing…)

Update: Music thing also points to some artistic inspiration in the same vein.

Among the treasures found in the archive is a short track of what could easily pass for an IDM cut released last year – except it was produced by Derbyshire in the late 60s, using far more primitive equipment, at a time when nothing sounded like that. When Paul Hartnoll of Orbital tells the BBC “This could be coming out next week on Warp Records,” he’s not exaagerating. Sci fi fanboyhood aside, I still think the endurance of the Doctor Who theme is partly because nothing sounds like it even today.

And there’s more – Hamlet sound design, original compositions, her signature bell tones. Even saying it’s forward looking isn’t really adequate. Other Derbyshire sounds, with their wailing electronic instruments and wooshes of synthesized noise, sound as though they were unearthed from some ancient era of electronica. Blue Veils and Golden Sands, a documentary about the Sahara, could pass for the music the aliens played on their spaceship hi-fis when they visited Earth and told people how to build the pyramids. (I’m kidding, but you get the point.)

I’m working on finding out what the plans are for the full archive as they evolve.

Lost tapes of the Dr Who composer [BBC News, via Radio 4’s Nigel Wrench]

Thanks to Ben Rogerson from MusicRadar for pointing to this first and sending it my way, and to Jim Warrier for the tip.

Daedelus remains one of my favorite electronic music personalities. A virtuoso of his hand-built Monome (the early prototype) dressed in Victorian garb, he always manages to exude charisma in his music. And sure enough, as opposed to the usually bland, generic, and hideous emails I get in my inbox about artists (my eyes ache the moment they see a press release), I get two gifts.

Music

First, a free MP3 from the upcoming Love to Make Music To, his first full-length album to go on Ninja Tune:

MP3: Make It So ft. Michael Johnson (XXX-Change Remix)
http://www.terrorbird.alphapupserver.com/music/make_it_so_rmxxx.mp3

(Uh, if I happen to overload Terrorbird’s bandwidth with that link, let me know and I’ll fix it.)

+ Stories

And then, we get this fanciful, Jules Verne-esque (ahem, fictional) story of an inventor who, through magical electrocution.

It’s all too beautiful. Let me share the whole result, for two reasons:

1. If ever you’ve wondered how to speak to the press, do it like this. Please? (And press, get your Edwardian and your Victorian straight. Jeez.)

2. Every detail makes me smile. (World’s Fair? Electro-acoustic album with your wife? Did you write this for me personally?)

Hmmm… nope, rest of my inbox is still the usual drivel. I’ll just read this a second time.

1893. Chicago. The World’s Fair to commemorate the 400th anniversary of Columbus’ discovery of America opens. In the entourage of one Nikola Tesla, the renegade pioneer of modern electricity, travels Alfred Darlington, a young inventor from Los Angeles.

On only the second day of the fair, Darlington is electrocuted in a terrible accident, pronounced dead and taken to the morgue. Two days later, an attendant there hears knocking from one of the drawers where the corpses are kept. Armed with a shotgun and whiskey he opens the drawer to find the young Alfred not only alive and well but babbling about a future worlds he has visited and asking that everyone now calls him "DAEDELUS".

Tesla, both relieved that the boy has survived and embarrassed by the accident, allows him the run of his workshops. Over the next six months of the Fair, he devotes his time to building strange electronic instruments and on the very last night of the Fair presents the Love To Make Music To Symphony, which, he claims, is the sound he heard in the future.

The events of the performance are shrouded in secrecy – widely believed to be a result of a cover-up by government and the vested commercial interests who had most to gain from the Fair’s success. The few reports which have filtered out say that people go mad as they listen to the strange, alien sounds the young composer describes as "music", that they scream, laugh, pull off their clothes, have sex with each other and themselves, fall into reveries and shout of "the hills, the beautiful hills". Daedelus himself is dragged from the stage and detained indefinitely in a mental hospital in Chicago and stays there until his mysterious disappearance on May 29th 1913, incidentally the night of the riots in Paris at the first performance of Stravinsky’s Rites of Spring.

But for another twist the story would have ended there. However, Dr John Thompsock of the Chicago Ultra-Arts & Science-head Institute and one of the greatest living Tesla-ologists is lucky enough to obtain a cache of Tesla’s papers from a shadowy Eastern European in 1999. In amongst them he finds a cylinder disk. On playing it, he discovers that it contains the only recording made of Daedelus’ first and last performance.

Digitized and cleaned of crackle, pops, and shorn of 45 minutes of detuned primitive oscillator noise, this is the performance which you are holding now. Or listening to. Almost as strange as the day it was first performed and as liable to bring on what we can only describe as "sexual fever". To ease you through – and hopefully hold the fever at bay – this version features commentary from a number of leading scientists including Om’mas Keith and Taz of the Sa-Ra Foundation, plus (Dr) Michael Johnson, (Prof) N’fa, Paperboy (Mphil), (Dr) Erika Rose and (Prof) Laura Darling (of the Long Lost Institute). Of more than academic interest, this should still appeal to all aficionado’s of Very Very Late Victorian Music.

This is Daedelus’ best and most playfully accessible album yet. A homage to early rave culture from the UK which he first heard in a YMCA whilst on holiday in London aged 15.

The main single will be "Make It So" which will come complete with video and remix by XXXchange (Spank Rock)

Daedelus has been remixed and played live with Madlib, and is in a live band with Taz from Sa-Ra (Eryka Badu producer and Kayne West henchman).

Album guests include grammy award winning rapper, Paperboy. Producer Michael Johnson, who has created records with the Lilys and Holopaw (subpop) among other groups, his own records have become something of a collector of modern psychedelic secret. Taz Arnold and Om’mas Keith come from the acclaimed and mysterious Sa-Ra (along with Shafiq Husayn). N’fa was part of the wildly successful 1200 Techniques (Australia) but then parted ways to continue his own path, has released and received accolades in Australia and USA. Erika Rose is a busy chanteuse who has an active music recording and releasing schedule

Daedelus has a romantic electro-acoustic record with his wife Laura Darling coming out later in 2008 under the name The Long Lost.

This is his first record worked solely in collaboration with Ninja Tune

He has had records out on Mush, Ninja Tune, Eastern Developments, Plug Research, Phthalo, Soul Jazz, Epitaph, Melodic, Full Time Hobby, Def Jux, Hefty, Tigerbeat6, Planet Mu + many more

Its important to note that Daedelus is influenced by the clothes and culture of early Victorian (pre Prince Albert Dandyism) culture, and not Edwardian as has been written in the past. His stage costume often consists of clothes from this period.

1.Fair Weather Friends
2.Make It So featuring Michael Johnson
3.Twist The Kids featuring N’fa
4.Get Off Your HiHats
5.Hrs:Mins:Secs
6.Touchtone featuring Paperboy and Taz
7.I Car(ry) Us
8.I Took two
9.My Beau featuring Erika Rose and Paperboy
10.You’re The One featuring Om’mas Keith
11.Assembly Lines
12.Drummery Jam
13.Only For The Heartstrings
14.Bass In It featuring Taz
15.If We Should featuring Laura Darlington