OK, here's another link to a track I made a long time ago. Production is not as good as in Circular Motion.

http://www.looperman.com/tracks/detail/103946

I have to keep removing a track every time I want to upload a new one (50 track maximum) and I do have a new one to upload so will probably remove Not For Fear Of Folds in about 12 hours.

Enjoy!

Hi. Yes, I know what you mean about this track sounding better than some of my more recent productions. That is a difficult and painful thing for me to admit and it’s something that has bothered me for many years. Yes, I think lots of stuff I have done since is very good yet this track just has some sort of special, mystical ingredient that makes it special.

I’m not sure if my more recent music is overproduced. Yes, I do use a lot of effects but I try to use them only ever in an appropriate way. Maybe I need to think a lot harder about that and try to keep things simpler. But it’s so hard to know, isn’t it?

I guess this track does has some sort of connection with 'sufi whirling dervishes' but in a much more modern electronic style rather than a more traditional, acoustic Middle Eastern style.

I will try much harder to work out why this track is so good and see if I can learn from it. If I were able to open up the original files, maybe I could try doing a remix of it as that would be fun (though probably also quite difficult).

Thanks again for your considered thoughts.

Hi again. I’m sure you’re the only person on here who comments on all the tracks I recommend to you.

“I cant say it starts at any point”

I don’t really know what that means. It starts at the start – with that opening synth bassline.

I agree that the track could be much longer. But I have so many very long tracks that it’s good to have some shorter ones. I made this about 13 years ago when I hadn’t developed as many production techniques and didn’t have so much equipment or software.

Now I find it easy to make very long tracks and have to try to stop them from being even longer. Thanks for listening to what might be my greatest ever track (it’s hard to say).

"musically this is a new favourite from you"

It could easily be my best ever track so don't get your hopes up too high that you'll enjoy another more.

"anubian lights is incredibly intriguing stuff and to me there is definitley a influence of them in your creations."

Not really much influence. Only found out about them a few years ago when someone reviewed this track and let me know about them. Awesome, unique and pretty unknown stuff (check out as many albums as you can) but just something exists separate from me.

Ozric Tentacles are a way bigger influence, from the age of about 17. Seen them a few times and the first (aged 17) was perhaps the highlight of my musical life. I had no understanding of how they were able to do what they did. it was like magic! Sadly, it's not anymore as I know a hell of a lot more now But they're still awesome.

So much incredible music to recommend but I'll just suggest this, slightly different track from them:

Ozric Tentacles - Sploosh!

http://www.youtube.com/watch?v=QSQNRZKkhVQ

and

Ozric Tentacles Ghedengi

http://www.youtube.com/watch?v=UW31HupvemY

They're about to become your favourite new band!

Yes, I used to love ADF too, especially Rafi's Revenge though they never did anything else as good as that.

"considering this is over 10 years old it's quite a feat"

More like about 13 now! I way surpassed my production abilities at the time when I made this but have since caught up, I feel.

"the final part with full blown layers"

Yes - I had to take it somewhere and make it much bigger though the drums don't get much bigger. If I made it now I'm sure I'd add some big acoustic kits. But I like it as it is so glad it stays on the same drums as the first half. Makes it all seem quite consistent.

Good to hear from you and hope you can make some musical progress. It comes and goes for me but I do it every day so it can't always be magic!

Ok - you're making slightly more sense now though I still don't get the bass talking to guitar thing.

Yes, I suppose that intro bass does have some vowel-like talking qualities to it. "Bow-a-wow" is what I hear now you mention it.

It's just a modified Reason patch I made in about 2001 (in making this track) and I still absolutely love it. Its the main feature of a mostly electronic track I made, called Into The Out There, that may well be your favourite track of mine:

http://www.looperman.com/tracks/detail/146600

"musical creatures"

I have no idea why but I seem to feature creature-like sounds in a lot of my tracks over the years. I don't mean samples of animals or anything else but just making synths and sometimes guitar appear to make creature-like sounds.

I really don't get how this happens! Sometimes maybe it's a bit cute and cheesy but something I seem to have some entirely unintentional talent for.

Thanks for confirming your possible madness. You're certainly not too mad to regularly produce quality music...

Yo. You've confused me right from the start with

"That bass and guitar are talking to each other"

Or maybe you're confused. Without a time reference, I'm not sure which bit you're talking about and there's relatively little guitar in this, apart from the obvious big part on 4:00 though I'm guessing you're not talking about that section just yet.

1:27 there is some subtle autowah guitar which blends well with the bass. Maybe that's the bit you meant.

I think I always try to get instruments to appear to talk to each other and chatter back and forth.

Maybe this is partly because it's all me playing them so I just naturally connect with any part that I've already played - even when I can't remember how to play it (which is most of the time).

4:52 check how the psychedelic guitar merges with the lead synth. Hearing them as separate instruments is hard to do at times. They seem to come together to form one instrument though I have no idea if they're both playing the same thing. Must be quite similar, I guess.

"that distorted guitar just lifts the whole thing"

A couple of commenters had a problem with it and a couple loved it. I think it's unusual and definitely wouldn't get rid of it.

"a joy to listen to"

It may well be my finest ever track and I would expect most people into synths and far out, groove-based music to enjoy it.

Yes, I like that too. And I like it coming after the guitar part you don't like as that is another surprising transition from one type of sound to another. Short harp solo but it doesn't need to be longer. And we get to hear the tambura drone behind it as well.

If you want to hear that harp sound used a lot more, check out my dancefloor 303 metal chill funk track called Lord Of Misrule. Lots of that harp sound in the chillout groove second half. First half is intense 303 metal with lots of synths driven by metal and hard rock acoustic drumming.

OK - no problem. Thanks for getting back to me. I guess you just don't like that guitar part at 4:00 featuring in a track like this. I like it coming in as a surprise and something you're not expecting. I don't see why it doesn't fit.

If you listen to other music by me, you will hear all sorts of surprising parts that come in and I generally have an unusual lineup of sounds and instruments. I try to create interesting and surprising combinations of sounds as I feel it's the best way to be original and distinctive.

Some people will always have a problem with some of those strange combinations such as me playing eastern scales on a banjo over hip hop beats. And then going into d'n'b or metal. Other people will enjoy how unusual it is. I just hear it all as different flavours of music as I believe you can make any types of sounds work together if you do it skilfully.

Greetings.

Yes, I love the intro and main bass. Same patch (originally from this track) that I've used in a few others eg your one favourite of mine Into The Out There (the main sound) and also hip hop epic The Fatness.

No percussion in intro (apart from rhythmic breathy thing) so I assume you mean ("nice clap percussion panned far right") the drum hits that come in on 0:40. No clap in there and no far right panning I can hear. But there is a big metallic clanging hit, which maybe you hear as a clap.

Bass is wider in some sections because I take two different synth basses and apply opposite panning to them. I guess one is based on a square wave.

I don't hear it as "arabic guitar" but I guess you mean part starting 1:27. It's subtle to the point of merging with the bassline though I doubt they're playing the same thing.

My vocoded fake didg (my voice modulating a Z1 clarinet through hardware vocoder in real time) arrives on 1:52 as the track opens up a bit. 2:28 another bit of more obviously voicey vocoding.

3:22 breakdown and transition features the lead Z1 synth sound that I thought would be the highlight of this for you. Plus that cool, programmd tambura drone. Must use that again!

"drums get more intense"

Pretty much just repetition of what we've already heard though there is a big new cymbal as the beat comes back in.

Must disagree about guitar at 4:00 "being a bit too much". I hear it as a refreshing surprise and I've already said quite a bit about it in other replies, having had to defend it previously as somehow being "not needed".

I guess you want me to remove it and do some of my resonator playing that you've become quite familiar with there instead. I won't (partly because I can't yet open up the relatively ancient Cubase project) but fear not - you'll hear more resonator playing in more tracks coming soon. It's one of my signature sounds and can crop up in ay type of genre that I do (though rarely in the pure electro stuff).

4:30 is a mystical synth harp sound just using the main polyphonic synth in Reason. That's layered over the tambura, which adds to the mystical quality. Another reason to have the 4:00 guitar is that following it with the harp is pretty strange and the type of strange I like.

No, no fretless bass after that but there is a bit of bass guitar doing a little bit of sliding so maybe that is reminiscent of fretless (I've never had one but still want one).

4:52 check how the psychedelic guitar merges with the lead synth. Actually, hearing them as separate is hard to do. They seem to come together to form one instrument though I have no idea if they're both playing the same thing. Must be quite similar, I guess.

I leave you with an outstanding Ozric Tentacles track. Bass and drums in this are some of the greatest I've ever heard. Everything else is also wonderful - including the time signature, which baffles me every time.

Ozric Tentacles Ghedengi

http://www.youtube.com/watch?v=UW31HupvemY

Thanks but I really don't know what you mean by this:

"This just goes to show you just how sometimes a little to none can go a long way"

Not sure if you're trying to say it's quite a minimal track ie not many instruments used. But there are quite a few synth sounds and drum loops and hits and small bits of guitar (and the big, obvious guitar part around 4:00) used in this so I guess that's not what you're trying to say.

I can't guess what you meant.

Hi. This does indeed have a spacey vibe, as do many of my other tracks. I incorporate a lot of genres into what I do (many often within the same track) but the top level - the sparkle, the vibe and mood - is generally pretty damn psychedelic and spacey. It's one of my favourite aspects of sound and music.

I'll probably put this track on my more hip hop-leaning album (not one 'proper' hip hop track on it!) so hopefully that album will be, as you desire, "a whole album of stuff like this".

I could recommend to you most of my tracks but will suggest a deep, dark chill groover with a strong hip hop vibe and lots of acoustic resonator guitar and banjo called Right Place Wrong Century (http://www.looperman.com/tracks/detail/146210) as well as a mad journey through multiple styles, including d'n'b, called Shapesmith (http://www.looperman.com/tracks/detail/149028)

Zero Per Cent Proof is a psychedelic blue grungehop epic with some fat beats and a hell of a lot of grunge and eastern guitar playing (http://www.looperman.com/tracks/detail/149028)

So search my track page for some of these titles and let me know if they inspired you to "build a phatty kick back and mellow out to some spacey vibes".

I've never really listened much to Gong but they were a big influence on Ed Wynne, the Ozrics guitarist (still is, 30 years later).

It's a bit of a shame that, in my opinion, the Ozrics haven't done anything too great since the late 1990s as their late 80s and 90s output is quite exceptional. They've been retreading the same ground for a long time now - something I fear doing in middle to old age. Gotta keep experimenting and diversifying, learning new instruments, getting new sounds etc to avoid that happening! I did see them (just Ed and his wife Brandi) do an awesome synth and drum machine-only set about 8 years ago and would like hear more of that beautiful, epic stuff.

Thanks for your thoughts. Now see if any of my other tracks are similarly good smoking music.

Hello.

I've already written quite a lot about your favourite electric guitar part in this song to MrWolf so please see that reply (so I don't have to write it again).
"your style is so special and unique"

I try hard to be unique. Part of the reason is that there is already so much music in this world so I feel I have to do something different and not just be an inferior version of my favourite artists across so many different genres. I can also imagine a lot of music I've never heard before so I try to make some of it, though I have lots of limitations and do not play enough instruments or have enough knowledge to make everything I can imagine. And I don't sing!

So, every single track I do is me experimenting with sounds and combinations of instruments rather than just trying to knock out a banging trance track or a traditional blues song. I don't make popular, commercial music in any one genre but instead make purely experimental stuff. But it has to also be enjoyable - not just strange experimenting to try out a new effect or plugin.

I get a good drum part or bassline or guitar riff going on then keep trying to add interesting sounds to it. And then I add more and more and so the track keeps growing and growing. I'm always doing things I did not plan to do and did not imagine!

When I have a good synth part, I always copy that part and try playing it on a new synth sound until I get an interesting combination with the original synth sound. And then I do that again and again.

Once I have recorded some guitar playing (that usually involves a lot of improvisation) I very carefully go through the recorded part listening for cool little bits I can chop up and put somewhere else in the track. Sometimes I make new, repeating riffs out of one small bit of playing that I can no longer remember how to play.

I hope that when I release some albums, each one will be seen as unique creations that don't really fit in any named genre. Except it's all progressive, groove-based and psychedelic (the main characteristics of my music).

Good to hear from you. I think you make almost every track I upload one of your favourites.

Hi. I made this a featured track for the first time because I don't have anything else in a good enough state to upload yet, though I am working on some spectacular new tracks. Not many had heard this one and it might be my best so I thought I'd "promote" it.

"it just works as a whole"

Yes, this might be more important than any single riff or cool sound or amazing solo - everything working perfectly together. Maybe that's what a masterpiece really is.

It seems CyberLiam disagrees and feels your and Danke's favourite guitar part should be removed (I suspect he just doesn't like that sort of guitar sound or playing). But I agree with you and also think that riff sounds much better because this track doesn't have much guitar in it so is a surprise. It's just me playing something like four simple chords but picking each note rather than strumming. But it's tight playing.

"Most people would have made a 4 minutes song just out of this single thing"

Yes, perhaps. I do lots of varied repetition in my tracks (so, the same or similar riff being played on different instruments at different times) but also like to include things that are only heard once or for a short section. Sometimes, there's no real reason (in terms of track structure) to hear a part again - even if it's really good.

That riff would probably be less disnctive or interesting in a rock song with lots of other guitar riffs and solos so is definitely more effective here.

I also like the harp solo after the killer guitar part. That's a strange combination!

Also, after a couple of minutes of the track, there is me making a fake didgeridoo sound (as the track chills out a bit) using my real-time voice through a vocoder that is modulating a synth clarinet sound. I still have that hardware vocoder but never use it. Maybe I should start again as that fake didg sound is pretty cool.

Good to hear from you again.

Hi. Glad you enjoyed and found it beautiful. I don't mind criticism but it needs to be specific. You didn't really say why the guitar at 4:00 is not needed.

I'm going to guess you're saying that you just don't like it and therefore you would prefer it not be in the track. I like it for a few reasons. The beat has only just come back in and I needed to make the track bigger and more powerful. I think this guitar part does that well. Also, there has been very little guitar in the track up to that point so I feel it's an interesting, unexpected thing to introduce. I love to do that sort of thing in my music.

I could have gone for a big, screaming lead guitar solo but I what I played (a very long time ago) is a lot more tight and controlled. And then after it, there is a short harp solo, which is another big contrast.

So, feel free to tell me why you think that guitar is not needed. I guess it's not but it sounds good so that's why I kept it. Maybe you just don't like that style of guitar playing?

Hello, hello.

"For an older recording, it sounds pretty good"

As I've written elsewhere, this sounds way better than other stuff I was doing back in 2001. Not necessarily better ideas or playing - just a cleaner, more powerful sound that still sounds good on crap laptop speakers with no bass. I'm actually still trying to figure out quite why it all sounds so good.

But one definite criticism I have is of that main drum loop (the first one you hear, out of which I could make 10,000 tracks). It's a bit too bright and loud in the mix. But I guess that's OK - not everything has to be perfect (whatever that exactly is) and this gives the track a bit of crunch and a bit of an edge.

Because of the slightly odd, eclectic and lazy way I work with my instruments and parts, my stuff always retains some rough edges and character rather than all being too clean and smooth. That's probably a good thing though I do work hard to get everything as neat as I can. But some of the roughness is in the playing, layering and effecting. I do like some little rough edges and a bit of grit. But no too much - I'm certainly no lo-fi kind of guy.

"The Middle Eastern sounding parts fit well with the rest of the song"

Yes - it's a hardly a full-on Middle Eastern track but I never do that as I don't know how. It's just one of the many flavours I add to my stuff when it manages to come out as I'm fiddling about on instruments and with synth sounds.

Thanks for checking it out. As already said - it may well be my best ever track though I'm more than happy for other people to have alternate favourites (I have a lot of stuff).

Hi again.

"I've learned to be more precise in comments on your tracks because you have very deep knowledge"

I suppose so. It's more that I love a broad range of music and am a real obsessive about it so have a lot to say about it and the making of it. And I tend to express that quite a bit on this site - unlike the majority of one or two line track reviews and replies. Who knows, maybe I'm wasting my time a bit. I like to think not.

Anyway, yes the crispness and definition of the track really does still surprise me. I have a lot to learn about why this sounds quite as good as it does. Let me explain as I'm really not trying to just say how great I am.

I've just listened back to this on crap laptop speakers. The awful ones that are built into the slim body of the average consumer laptop. And the track still sounds great!

Normally, when I do that with one of my tracks, the bass is so non-existent that a huge part of the track is missing. Maybe it's because the bass isn't that low on this one so those crap speakers are able to handle reproducing those more mid range frequencies. But the track still does have some pretty good low end so I'm not sure why it manages to sound decent through awful speakers.

Yes, 3:26 is that cool lead Korg Z1 synth sound. With the tambura underneath. You can also hear it around 1:16.

It's exciting at 3:37 when the beat comes back in with that powerful orchestral sort of cymbal (the build I think you referred to).

I did listen to the whole Marghat track and liked it. But I didn't see too much of a connection to this track though there is a definite connection to the music I make in general. It's much more Indian sort of rock band stuff though not too psychedelic. This track doesn't really have much rock in it, despite that big guitar part towards the end. And it's all electronic drum grooves and loops. No acoustic drum kit and very tightly sequenced so not like a band.

And my track isn't really very Indian. I only guess at Eastern genres anyway. I have no idea what I'm doing!

I checked your profile but could only see that you're from Arlington and have the one influence of AR Rahman. Let me know sometime what your link is to Indian music. Hey, maybe you are Indian, or of Indian descent.

Not really sure why I called this Circular Motion. Titles are always a problem for me and I have to come up with something. My proper artist name is actually Endless Rotary, which is closely related to the idea of circular motion - it's what an endless rotary control does.

Yes, intro bass is very powerful and is heard at various other points in the track.

Thanks. It might even be the best track I've ever made.

I don't like to single one out as I have lots with different qualities but this has something very special about it.

Yo.

Yeah, that recent 5 min dance track was me being very disciplined and intentionally keeping it short. The extension of that track I am working on right now. Oh, what a surprise - it's a lengthy epic! Just about to go record some massive, heavy screaming lead solos as well as some gentle, chillout ones but though I'd reply first to you.

I have a bunch of tracks on this site under or around 7 mins. Here's one with quite a bit of vibe and menace and sax and d'n'b and hip hop and jazz and banjo and metal etc that may well interest you:

Way Beyond Wrong

http://www.looperman.com/tracks/detail/145971

It really does contain 'banj metal'!

I thought Circular Motion might be your kind of thing as it also has a bit of menace. And a good industrial type of clanging drum hit eg on 0:42).

Yes, not my intricate acoustic drum parts that I've only been able to do since getting Superior Drummer a few years ago. Actually, I did intricate acoustic drum stuff before then but the much improved kits and excellent MIDI performances in such software has taken things to a new level for me.

But I like this type of drum track too. A real simplicity that seems cleaner and more powerful than perhaps some of my busier acoustic drum stuff.

Regarding bass, check on 1:17 for a while as there are two synth basslines, with opposite panning. I should do that more often.

Ys, you are correct in thinking you're familiar with menacing bass.

"I saw that you made this one ten years ago"

It's more like about 12 or 13 now. I was only a young man with not much music production experience though a fair bit of bass and guitar playing behind me. Real synth newcomer at the time but, as already said, it may well be my best synth work. Not quite beginner's luck but definitely better than much of the other stuff I was doing around that time.

Only minimal amounts of guitar here and there but that's fine.

Even some bass guitar, coming in during the metal/rock solo towards the end. That should probably be fatter but it really doesn't matter.

Good to hear from you. Keep driving those valves...

"You bring something unique to the table every time"

Yes - that's always my aim. Got to give everything distinctive character. It's OK to reuse the same sounds and instruments but, for me, they need to be combined in new ways. And every new track is a fun opportunity to use a synth sound I haven't yet used (I have thousands I've never used).

I'd like to get more varied guitar sounds into my stuff so really need to get round to getting a quality software amp/effects package such as Amplitube or Guitar Rig.

Thanks for checking it out. I like to think anyone into far out and/or electronic music would get into this.

I think I'm going to put it as the first track on my alternative, far out hip hop-leaning album when it's ready. But it would be a suitable track 1 on most of my albums.

Special stuff that I'm sometimes amazed I actually created.

Hi. This has such a huge sound and the instruments all fit together so neatly that I have trouble sometimes believing I made it. And especially all the way back in 2001. Perhaps some sort of inspired out of body experience music making.

I honestly think Simon Posford and similar people would love it, maybe even wish he'd made it. I'll enjoy listening to it for the rest of my life and doubt it'll sound dated in 50 years.

"only 5 mins....blimey - was there a power cut?"

I think I've gradually made longer tracks over the years as my production skills have improved and new tricks have been added. More ways of making cool sounds means I make more of them and then the tracks grow and grow!

"that kick back in at 3.30 is like a sledgehammer."

It's a very moving moment when that beat kicks back in as a big cymbal is introduced for the first time. Sounds a bit orchestral and that moment makes me feel amazing and like the heavens are opening up or something. Real hands in the air stuff though not in a simplistic rave way. More like the sky is parting and God is finally coming down to say hello.

The system I had then was Cubase and Reason (same as now, though obviously the much more recent versions of both sequencers) running together though I'd only recently got Reason. Actually, I didn't even manage to run them together as one a that point so made loads of loops in Reason, brought them in to Cubase and mixed them with the guitar parts and quite a bit of Korg Z1 parts.

No EQ used and no mastering either. Almost every sound seems so clean that nothing needs to be boosted.

But note the subtle guitar parts back in the mix that probably benefit from being dull and not EQ'd (eg squeals at 1:39, 1:46).

But there's a massive metal-like guitar fill at 2:14!

Not sure if the track is drier than usual. Still various delay and reverb used. A real head scratcher why this is so damn powerful. Wish I could make something else like it now.

Don't really want to extend this. 5:33 isn't long but it feels just about the right length. Maybe someone someday will want to do a banging extended trance remix of this. Especially if it becomes an alternative psychedelic classic.

I think the way it gets brought back down at the end to those choir voices and that essential bassline makes it feel like a proper, epic trip that is neatly bookended.

Good to hear your thoughts on this one, as always.

Yo, yo, yo. Not, I'm not of Middle Eastern descent - just badass descent.

Actually, I was born in Cairo, Egypt and so, coincidentally, was one grandfather but neither are us is Egyptian (very English, instead). I did live for a few years in a Middle Eastern country but didn't study the music in any way. I know very little about scales and completely guess at how to make Eastern scales.

It's a real fluke. All I do is start playing more semitone stuff and then do a bit more a few frets up and that seems to make some sort of Middle Eastern scale or mode.

Korg bassline?

I do have a Korg Z1 but that main killer, intro delayed bass is a monsynth patch I made in Reason years ago. I have used it in loads of tracks - most prominently in Into The Out There (it drives the whole track) and The Fatness.

3:24 lead synth playing actually is my Korg Z1. Amazing sound but I haven't used any of the Z1's internal sounds in years (95% of my synth work is Reason synths).

Also at 3:24 we get the tambura sound but that's also from Reason.

Hard to believe I made this in 2001. Most of my stuff was nowhere near as good as this as I had a lot of production skills to refine and didn't even use EQ back then. Also didn't have all my excellent acoustic drum software (had to wait years to get that). This is all drum loops and one shot hits but they work really well.

"who else does this kind of stuff?"

Someone commented on another site on this track and introduced me to an excellent group I'd never even heard of. They're called Anubian Lights, and a great album is Let Not The Flame Die Out.

Here is an excellent example of their stuff:

Anubian Lights - One Eye to the Sky

http://www.youtube.com/watch?v=Ue0CMZAdr-A

Ah yes - me and all my unreleased albums. I keep saying I'm working on about 8-10 of them (probably more) but don't want to part with them until they're as good as I can get them and nicely mastered.

Had this track on this site for ages, only just featured it cos got nothing else to upload right now but am working on an amazing new one that might be ready in a week.

"Somebody's got to light a fire under you and Tumbleweed"

I don't know if that means we should collaborate or that somebody should burn our asses (if we don't release an album in the next few months).

Can't remember exactly what the wubby bass was. Might be a synth sound in Reason. Might be my Korg Z1 (which I don't use anymore, mostly Reason these days for synths). But I think I need to find out and use that sound again!

No plan to do the Arabian thing but I love those sorts of sounds, have no idea how to play them but they just come out once I start using semitones and move about the guitar or keyboard.

Yes, I'm always dropping new stuff in the mix, though sometimes my stuff actually changes too much, which can be be a bit of a headache after a while for people. I'm trying to change stuff a bit less. I have loads of other similarly eclectic things (and much longer stuff on other sites) so feel free to check more out.

Thanks again for stopping by and I appreciate the appreciation.

Tune stuck in your head, eh? Sounds a bit like a pop song, something I'm unlikely ever to make.

Glad I managed to get it to stick in your head. I'm guessing it was the main (delayed) bassline, maybe some of the prog-like lead synth sounds too (that's from my Z1 synth whose internal sounds I haven't used in years. Maybe I should start again).

Hello again. Thanks for the skills appreciation ( I made this one nearly ten years ago). I won't be sending you or anyone else and tracks yet as I'm still working out what to do with them all (a ggod few albums' worth) such as putting out physical CDs (maybe not) or maybe something else. Can't you and your mates just sit around the computer blasting this out?

Check out more of my stuff here (2 hours including much longer epics). Dunno if it'll be your sort of thing as I play and use lots of guitar, but often in an unusual way. http://soundcloud.com/endlessrotary/sets