Tomás Ford_/,?,

/Nobody Wants To Be You
/Old People Like To Fuck
/Album, May 2006

 


Nobody Wants To Be You

  NOTES // REVIEWS // IMAGES MP3 Downloads Sold at 160kbps.
1_ Electricity Solo 3:30 // LYRICS // NOTES
2_ No Surprises 3:40 // LYRICS // NOTES
3_ Letters Of Complaint
[feat. Mark Kingston]
5:09 // LYRICS // NOTES
4_ Domestic Utopia
[feat. Mark Kingston]
3:50 // LYRICS // NOTES
5_ Postal Aid Package From Mum
[feat. Shane Adamczak]
4:27 // LYRICS // NOTES
6_ Broken Toys 2:54 // LYRICS // NOTES
7_ One Size Fits Most 4:10 // LYRICS // NOTES
8_ Old People Like To Fuck 2:13 // LYRICS // NOTES
9_ Loudspeeka
[feat. Johnny Hotrod]
[Album Mix]
2:32 // LYRICS // NOTES
10_ Big Night Out In Rockingham
[feat. Lo-Key Fu]
[Album Mix]
7:23 // LYRICS // NOTES
  BONUS MP3 ONLY TRACK:  
  White Haze 4:08 // LYRICS // NOTES

/Old People Like To Fuck

This song is seriously old. It was originally written in 2000 as a solo-lofi demo thing on casio.  Then I started working with Eleesha on the Descend Here project (Descend Here was originally my solo project; then it became a Tomás & Eleesha project; then a Tomás & Eleesha & Mark project; then a Mark & Tomás project) and we needed to put together a submission for a compilation of artists in an electronic musicians' collective I was in at the time, Semikazi.  So I worked on making this into a wierd, distorted IDM-pop thing. 

It's one of the most bizarre pieces of music I've ever made (and I've made some wierd ones) but at the time, I really thought it would be an alternative radio hit. 

I couldn't get my vocal right on it though, and a few live shows later, we really wanted to put out Would You Let Me Have This Dance? instead. So it got shelved. We stopped playing it live a couple of years later, as we were a bit embarrassed by it.

Then I started doing my solo act and rediscovered the song. It was exactly the kind of electro-punk "fuck you" song I was enjoying doing at the time (I enjoy doing them now, too). By the time it came around to doing the album, I was starting to get sick of performing it as it's a pretty thin gimmick. But I didn't want to lose it forever, so I got it down on record. 

I'm also pretty chuffed that I was able to use a vocal sample Eleesha'd recorded when we tried to make the Descend Here version of it. Her intoned eleactroclash-ish vocal was my favourite thing about the track and I could never nail anything that could even approach the archness of it. Plus she hates it. Which I think is a bonus.

 

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