I find it incredibly difficult to talk about my own music, unless I am talking about the technicalities of it all. I’ve been creating various forms of ambient music since I first took ownership of a synthesiser with the Roland GR-1, back in 1994. In those days, it wasn’t so much looping, more using long swathes and washes of sound overlapping each other, so there was a lot of movement happening on the fretboard, even though it sounded very much like very little was actually happening.

In fact, playing very little as you tend to do with ambient music, is quite a discipline. In fact, it is probably all discipline and the best bits happen when you don’t play. In this collection, as with many of the pieces I’ve been improvising recently, I’m not using a looper pedal. Instead, I used a tape delay plugin called Valhalla Delay in Logic Pro X to create long loops of guitar, which I react to and build up upon. In fact, there are no synthesisers on these pieces, just guitar, bass, chimes and an electric piano sound that I like using from Korg.

I felt that these pieces were a little more expansive and cosmic than previous pieces and hence the titles that were chosen. I broke up the generation loopiness of it all, by centring the collection with a little improvisation performed using a random handpan rhythm generator and a fretless bass that you can hear in the middle of it all.

Overall, this is meant to help you close your eyes and drift off either into the cosmos or into the pillowy bosom of comforting sleep…

Enjoy!

You can get the download here:

https://darrenlock.bandcamp.com/album/stillness-in-repetition

For those who like tangible product:

https://elasticstage.com/lock/releases/stillness-in-repetition-album

And a big thank you to anyone who has supported this one.

ALBUM ARTWORK

Technology is a wonderful thing, especially music technology. It has enabled me to indulge my hobby for over thirty years; from my first tentative steps on my Vestax MR-44 four-track recorder onto my initial dalliance with digital multi-track recording in the late 90s to where I am today. Recently, advances in AI technology has allowed us home recordists to go back to our old recordings and try to drag them kicking and screaming into the 21st century. You can’t polish a turd, but you can roll it in glitter.

So over recent years, like a dog going back to its own vomit, I keep circling these old tracks and keep using all the technological trickery available to me to try and make them sound a bit more how I wanted them to sound in my head. 

They sound bad due to a couple of issues:

1. I couldn’t sing/play/write songs. I’m in an unusual position in that I have recorded right along my musical development, so you can watch in real time how I have progressed (or regressed) over the years and these early steps are just that: early steps, full of naivety and youthful bravado.
2. I had limited recording skills at my disposal. By that time I was avidly reading Sound on Sound magazine but it takes time to learn from your mistakes and these early recordings were mistakes. Recording sounds “too hot” or “too cold” and bouncing down bad takes or mixes. Bouncing down is where you mix two or three tracks together into a single mono submix in order to build up your song on a recorder that only has four single mono tracks to record on. Doing this muddies things up. But AI stem separation can now pulls those muddled muddy bits apart.
3. I had limited recording equipment. While my main investment was a Vestax MR-44 four-track recorder that looked like it would be more at home on a Russian submarine or nuclear power station, the rest of my gear wasn’t so premium. For example, my microphone was a £20 one I’d purchased from Tandy and really wasn’t up to standard at all.

But as I went on, my recording techniques and my playing ability improved and you can almost hear that in the recordings. So for those of you who are into gear, these recordings were made using the aforementioned Vestax MR-44, an Alesis HR-16B drum machine, a Zoom 9000 guitar processor and a variety of guitars and basses that I owned at the time.

Electric God

This is one of the first things I committed to four track back on the 11 November 1992. It’s a simple premise that our entire existence in reliant on electricity from the power stations that fuel our homes to the electrochemical currents that spark in between our ears and take our senses all around our bodies. Our god isn’t a big bearded invisible man in the sky, it’s the electricity that fuels the cosmos and without it, we would be nothing. 

I can still remember programming the lolloping drum rhythm and recording the song on a Saturday afternoon. In those, as I was busy with university, I used to record exclusively on a Saturday and this takes me back. I still like this one to the this. I often think about re-recording it, but I don’t think I could ever recreate that youthful dopiness of it all.

Birdsong

This was my first attempt at an instrumental. At that time, I was interested in pushing myself in all different directions and so this is my attempt at that. Instrumental songs are hard to pull off because there are no vocals or words to catch the listeners attention and so I thought I’d try and create a guitar solo that would emulate the swooping bird songs I could hear in my grand parents garden as the wildlife there sung from the mighty cherry tree that sat there. I even recorded the birds with the intention of mixing them into the song, but I ran out of track space.

Much later on, I recreated this track for a collection called “Fragments” under the title “The Birds Sing to Me”.

Apathy

This is meant to be totally contradictory. So you have a high-energy punk song, because I do like a good simple-minded thrash – who doesn’t? But you back that song with lyrics that are the complete opposite: in this case, it’s about someone who is totally apathetic to everything around him to the point of not being able to finish the lyrics of the actual song. It’s meant to be funny and stupid and I think it succeeds really well.

The original mix was very harsh but thanks to AI stem separation, I think I managed to soften it all a bit and sweetened the pill. It’s still a hard listen though due to its overly-abrasive nature. That £20 microphone does me no favours here.

Last Train to Leytonstone

At that time, I was travelling nearly ever week day from my home in Leyton all the way to Ealing Broadway in order to study my degree there. This journey would take up 90 minutes there and back (during rush hour too) and it seriously started to affect me. This is song in its edited form is a reflection of those days and how I used to enjoy riding the tube but those years made the experience unbearable to me, even to this point today. The drum track is meant to elicit the sound of a train on the track. The song amuses me and reminds me of a very different time in my life.

Timelapse

The recording of this one was fairly clean, though I wish I’d spent more money on that microphone. The song was about the time I was hit by a taxi and I had one of those “life passing before your eyes moments” as I hurtled through the air. The song is short and sweet and I think it works. When it came to remixing it, it was fairly clean to being with so it sounds pretty much like it did but without all the muddiness.

Devils Claw

I remember just messing around with stereo delay with my guitar and my bass and everything! So I just was jamming and reacting to all the repetitions of the chords bouncing around the place. I didn’t realise it at the time, but it sounded it a bit like U2. To top things off, I had no lyrics for it, so I plugged the microphone into the guitar pedal and growled into the thing, again reacting to the distorted delay that was added to my voice. Completely lunacy that goes on a little too long, but the swelling guitar notes that plays a melody line is a sound that began here for me.

The Clock Keeps Ticking

This was a result of me putting an old Casio keyboard into the Zoom guitar pedal and just creating all this weird swooping keyboard noises. I then just reacted to those noises with my guitar. The best part of this was the lyric which was taken from a poem I’d written at the time and sung in one take over the instrumental – I just did it in one go. I remember pacing it out and then just going for it – it was a very exhilarating way of recording! Again, even though it’s not the greatest musical creation in the world, I have a lot of fondness for this song because it’s what I heard in my head at the time. It just felt like mine. It was poetry and music together, which is what I wanted.

Nothing to Do

Written during an abysmal time after my time at university in 1994. My grandfather had died and I had to move out of my grandparents’ home and back in with my mother. I was finding it difficult to secure work, despite applying for countless jobs in my field, and I was living an almost twilight existence. This was a comment on unemployment and how you feel completely lost and adrift in the pointlessness of it all.

The Road

This was recorded on 1st June 1995, while I was working my first job. At that time, the M11 link road was being carved through Leyton & Leytonstone and many old Victorian terraces were being seized and demolished by the powers-that-be. I saw it as a wholesale destruction of our area and for what? For more cars… Thanks to AI separation, this song now sounds a closer to what I had in my head and you can certainly hear that I was becoming a lot more sophisticated in my attempts.

Over the Horizon

Another short instrumental piece recorded in March 1993, which featured an old mandolin that had been in the family for many years until my dear mother decided she wanted to sell it for pennies at auction. That act of familial vandalism still bristles me to this day. But yes, it’s a short, sweet piece played on a mandolin and backed by a couple of 12-string guitars.

Not sure how to count all the bits and bobs I’ve done over the past thirty-or-so years, but this might be either my 46th or 43rd release depending how you count “God Pay Debts Without Money” which is four albums in one package. Anyway, this is another collection of mostly bright and breezy guitar instrumentals with one singy song in the form of “Aisle of Plenty”.

With this collection, I fed some of the original tracks into an AI service and prodded it enough time until it spat out something I thought was akin to my style of music. I then sat down and removed all the AI stuff and reworked it in my own image, employing the algorithm to act in almost a producer role, guiding where some of the songs would go in terms of arrangement. I think this was very successful in places as the original versions of those songs a million miles from each other.

So this is another 40 minutes of guitar-based fun that I hope you enjoy!

Out of Thin Air [2026]

If you want a physical copy of this album you can head over to my ElasticStage page to order one: https://elasticstage.com/lock

I have many folders of music in my archive, many bits and bobs that are just waiting to be assembled and so it came pass that on a whim I decided to put out this collection “May Cause Irritation”. I’m not sure what held me back these past few years. Maybe it was the total indifference of my potential audience that took away my appetite. I don’t know. In the past, I collected 40 or so minutes of music and just released it – no matter what. But in the intervening years, I’ve become a little more selective, perhaps?

This collection was assembled over four years from tracks recorded between September 2021 to June 2025 It’s my usual mish-mash of guitar-led instrumental music with a few more esoteric bits thrown in, as I realised that my more experimental (or odd) side had been neglected in some of my other later releases – so I was trying to re-capture some of that feel from the late 90s to early-00s when we through it all at the wall to see what ended up sticking.

Credits

Darren Lock: guitars, basses, keyboards, percussion & drum programming + sleeve photography & design
Alan Harwood: Executive Producer
Recorded between 30 September 2021 & 14 June 2025

If you’ve enjoyed this, feel free to make a donation via my PayPal link.

[bandcamp width=350 height=786 album=3776661367 size=large bgcol=ffffff linkcol=0687f5]

Enjoy! (or not)

[bandcamp album=2543667196 bgcol=FFFFFF linkcol=4285BB size=venti]

The album began with the idea to create music that elicited the imagination to conjure up the sweeping vistas of America. Then the word Americana got stuck in my head. Then as I started to create the music, I thought wouldn’t it be nice to tell a story of a man who is in love with the American dream who gets a chance to trade in his life for another.

And so something that was going to be instrumental became a modern-day concept album telling the story of Eddie Pilgrim: The Last of the Electric Horsemen. The music tells a story both thematically and narratively and puts the hero in a very Faustian conundrum, but where would the Devil reside? Why in Las Vegas, of course! And so the gamble is played out on the roulette table and a decision needs to be made.

The music is eclectic: being painted instrumental, guitar driven pop to out-and-out progressive rock featuring a splash of faux mellotron to whet your whistle.

The CD version of the album comes complete with a second disc, which is a DVD that contains a 5.1 surround sound mix in both DTS and Dolby Digital, plus the stereo mix and a commentary track from myself talking about the making of the album. There’s also a discography track that features 60 minutes of music from my back catalogue and two bonus extra videos that didn’t make the final edit. The DVD-ROM section of the disc contains a PDF of the book of the album and a free multimedia eBook that’s compatible with the iPad.

So for your money you get over three hours of original content and the electronic album sleeve that takes you through the story of Eddie Pilgrim and his fight against the things he desires.

It is just a video of me talking about all the music I’ve recorded over the years and hopefully it will be of interest to some of you. Thanks for having the patience to watch it all!

So here are those all important links…

My Music:
Amazon
http://amzn.to/lockmusic

Apple iTunes
http://bit.ly/lockitunes

CDBaby
http://bit.ly/lockcdbaby

Rhapsody
http://bit.ly/lockrhapsody

My Website
http://music.darrenlock.com

My Books

iTunes
http://itunes.apple.com/gb/book/moofed/id513966067?mt=11
http://itunes.apple.com/gb/book/dead-rock-star/id514090211?mt=11
http://itunes.apple.com/gb/book/man-of-the-world/id516823353?mt=11

Amazon
http://www.amazon.com/-/e/B0057ZP08K
http://www.amazon.co.uk/Dead-Rock-Star-ebook/dp/B0057H6XC0/
http://www.amazon.co.uk/Man-of-the-World-ebook/dp/B007NUVA5O/
http://www.amazon.co.uk/Moofed-ebook/dp/B007NXIWPM/

Lulu.com
http://www.lulu.com/spotlight/darrenlock

Or perhaps I can interest you in a T-shirt:
http://lock.spreadshirt.co.uk

Connect via social media:

http://www.facebook.com/thedarrenlock
http://www.twitter.com/darren_lock
http://gplus.to/vrooom

http://darrenlock.bandcamp.com/album/the-stinkhorn-ep

Or use this handy player to listen to it:

And if you want to download a whole FREE compilation album, you can get that from my webstore too at:

http://darrenlock.bandcamp.com/album/easy-listening

Something delicate on the verge of change...

The new album is called “Steady State of Flux” which is a contradiction in itself and I managed to take the picture of the dandelion the other day whilst in the garden. It seemed to illustrate my point, something that is delicate but in a state of immediate flux.

Well there you go. You can visit the album page which is here.

You can listen to the album using the player below and if you feel particularly supportive you might want to buy a digital copy. No? OK, it was worth a try…

To see, listen to and purchase my discography please visit: http://music.darrenlock.com

To download the whole thing, please click here.

01 Heroes [David Bowie]

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02 The Bucket [Kings of Leon]

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03 Who Knows Where the Time Goes? [Fairport Convention & Sandy Denny]

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04 Are Friends Electric? [Tubeway Army & Gary Numan]

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05 Something to Do [Adrian Belew]

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06 Sabotage [The Beastie Boys]

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07 Willow’s Song [Paul Giovanni – taken from OST of “The Wicker Man”]

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08 King’s Lead Hat [Brian Eno]

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09 Wannabe [The Spice Girls]

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10 A Girl Like You [Edwyn Collins]

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11 Lucky Man [The Verve]

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12 Love Will Tear Us Apart [Joy Division]

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13 Quitting Time [The Roches]

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14 Sunrise [Pulp]

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Some of these recordings were featured in a podcast I made last year. You can download that and hear my motivations for recording these songs. Direct download: CLICK HERE
And if you want to subscribe to my Podcast feed so that your iPod or fancy thingamajig can download my noodlings automatically, put this into your feed engine:
https://www.darrenlock.com/podcast.rss

Look at the bendy guitar!!!

The interesting thing about this set of recordings is this is the moment I first adopted digital multitrack audio recording on my home PC. Thinking back, it was almost like alchemy to be able to record high-quality audio and multitrack it without any degradation.

Using a Guillemot high-end (for the time) sound card and the bundled Quartz Audiomaster software, I began to lay down these tracks. Before I was using four-track recording, if I was lucky bouncing down in stereo pairs and now I was able to mix from five or six stereo pairs, effectively turning me into a 12-track digital recorder. If I remember clearly, an eight-track cassette recorded would have cost over £1000 at the same time, so my investment of £200 for the computer equipment seemed like a saving to me.

The “concept” behind these recordings was that I was going to just record with guitar and no rhythm track. For years, I’d been jamming to a drum machine and I thought, “Hey, wouldn’t it be good fun if the guitar was the sole rhythm track?” And so the rhythm guitar on these pieces lead from the front. It was also a conscious decision to keep keyboards and percussion to a minimum, it was going to be my guitar album. No guitar synths were used in the making of these recordings!

In terms of equipment, I am using my newly-bought (at the time) Fender Fat Strat pumped into the Digitech RP12 FX pedal, the bass was my Yamaha and the original versions featured synth sounds from a Yamaha MU50 tone generator. However, this time around everything was done with software synths within Sonar X1.

The really interesting thing about this collection of recordings is that they are sequenced almost chronologically so you can hear my progression as a player and as a recordist as I go along. It’s a real organic album, which despite its various shortcomings, still makes me smile in places.

I suffer for my art...

These are “proper” songs, singy songs where I attempt to warble at the microphone and capture a performance. During this period, I was learning how to use my computer recording setup (Quartz Audiomaster software fed into a specialist audio card for my PC) and using a Yamaha RGX121FP guitar, Digitech RP10 guitar effects, an Alesis HR16-B drum machine and my old Yamaha bass, whose heritage escapes my memory.

The shameful thing is that I was using a £20 microphone from Tandy (remember them?) to record my vocals. The microphone was a piece of rubbish and lost a lot of the frequencies from my vocals, so this time around I have used plenty of EQ to fix that. Mind you, in the old days of recording I knew bugger all about tweaking the EQ – mainly because my software had such a poor implementation of a virtual recording console.

But yes, these tracks have all been remixed and remastered for 2011, using Cakewalk Sonar X1 producer and sweetened using IK Multimedia’s T-RackS 3 mastering software. In the old days, I mastered everything to either tape or minidisc and then recorded that back into my PC for editing and assembling to CD. For some reason the ability the bounce down escaped me, probably due to ignorance, so this mastering process added an extra layer of audio grim to deaden the sound.

Now everything is sparkling and, once again, I have done my best to polish a turd…

The album sleeve was created using top-class digital editing for the time. I remember using a Sony VX1000 video camera to capture two shots of myself. The first featured me laying under the car, the second of me behind the wheel. Then using my video capture software, I grabbed two still frames from that footage, loaded them into my photo editing software and carefully cut around the windscreen of the second frame and transposed it on top of the first frame. This was before digital cameras still cameras were widely available and nowadays it would be a lot easier to make the same edit. I remember it took a lot of time and faffing about to achieve the composite of me running over myself.

The photograph was taken at the car park on High Beech Road in Loughton.

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01 Intro
This is just a little ambient noodle to ease the listener into the album. A gentle introduction to…

02 When I Was Young
This song is just about growing up and changing. I must have been 26 or 27 when I penned the words and I was looking back to what I felt I was like when I was 17. You calm down a bit and stop being a pain in the arse. Now looking back to that 27-year-old, I realise I was an even bigger arsehole then. I am probably an arsehole now and by the time I figure this life business out, it will be a millisecond before I draw my last breath, such is life.

03 Gone
This is a song about grief and losing someone. I think I wrote it for losing both my grandparents in quick succession. They helped raise me and losing them in my early 20s was a big thing and something don’t think I’ve still gotten over. It’s about walking through a crowd of people or having a dream and thinking you’ve seen someone you miss dearly and wishing for another ten minute’s with them.

04 That Is The Way It Is
This is my Alfred E. Neumann “What, me worry?” song. Life is shit and bad things happen to good people. It never gets any easier and sometimes it is easier to ride the tide rather than attempting to swim upstream. When someone asks you why there’s injustice or hate or misery in the world, you answer: “That is the way it is”. Makes life simpler, no?

05 Sister
This is a song for my half-sister, who I have only seen a handful of times in my life time. It is a romanticised notion that you are both essentially on the same side pushing in opposite directions. I have tried my best to reconcile with that part of my family, but sometimes you’ve got to stop. As the Missus says: “If someone wants to do something, they’ll do it. If not, they won’t. Simple.” With hindsight, I wasted my time writing and recording this.

06 London Boy
This is a joyous celebration of being from the greatest capital city in the world. Part Bonzo, part Queen, part vaudeville, part Steptoe and Son – this is my first attempt at doing a funny song. I still like especially the bell solo from “Big Ben”.

07 1999
I thought the future would arrive in 1999. It didn’t. And this song is a steaming pile of badness. Added the vocoder effect this time around to mask the truly awful singing.

08 Now
This was based on an instrumental track I recorded for “Fade In/Fade Out” and while mixing that track, the words came to me and so I recorded this. It doesn’t work, the vocals just sound so fucking twee and the lyric means nothing.

09 You’re Going Down
Sometimes a phrase enters your lexicon that becomes a semi-catchphrase and during this period using this phrase (with work colleagues too) to announce your displeasure. “He’s crossed the line, he’s going down”. Of course, it was a big joke and no-one ever did get knocked down. But the phrase was so strong, I decided to use it in this song which I about betrayal, about those people who you think are on your side, but under close scrutiny you realise that they were fucking you up behind your back without you even realising it. A song for those fucking awful game-players out there.

10 The Damage Done
When you are a kid or a teenager, you often say things to those closest to you that you don’t mean. You can be pretty vicious with your tongue or just lack the maturity that your utterances have an impact on those on the other end. This is about wounding with words and how it is so very hard to heal the damage.

11 Save Me
I am my own worst enemy. Save me, save me from myself for I know not what I do.

The following collection of material was initially compiled in 1997 from recordings made between 1994 and 1997. By this time, I was reaching the end of my time recording with a four-track cassette recorder and was moving over to the digital domain. As I remember it, a lot of the track here were recorded by bouncing down from two tracks to another, as a stereo pair, thus retaining some of audio fidelity of a stereo recording.

The downside to this technique was that once you’d committed yourself to a take there was no going back. It was like recording in concrete, you were stuck with your takes and mistakes. At this juncture, I’d pretty much given up writing “proper” songs and instead was quite taken with recording strange instrumental pieces. I’m not sure where this sprang from, probably because I was working and finding harder to galvanise myself to write lyrics that were pertinent to my situation. I don’t know, my memory is fogged up over this period.

I know that during this time I was experimenting with two different FX pedals. I traded in my Zoom 9000 and used a Korg AX30G for a while, which was interested because it had a pressure sensitive button instead of a traditional rocker pedal and it allowed you to pull off some funky pitch changes and almost synth-like effects. Later, this was traded in for a Digitech RP10, which was a pretty impressive piece of kit for the time. Though my enduring memory of it was having an almost brittleness to some of the guitar tones.

Of course, it is at this point where my first dabblings with guitar synthesiser can be heard. In late 1994, I purchased a second-hand Roland GR-1 (which I kept for almost a decade) with some money I’d inherited. I remember demoing in the GR-1 in the shop and being completely astounded that you could make a guitar sound like a piano or a trumpet or whatever. But it is on this collection of recordings that you can heard my first fumblings with the GR-1 and my first faltering steps into the genre known as ambient.

01 Now Here
I have absolutely no memory of recording this, but it sounds to me that I was experimenting with rudimentary looping. Perhaps the Korg or the Digitech had this function, I don’t know? But there’s something relaxingly hypnotic about all the bouncing guitar, even though the guitar synth line sounds as if it was recorded underwater.

02 Slipaway
Again, very little memory of this. The original masters were lost, so this is the original WAV file revibrated with a bit of EQ and squirted through a mastering plugin, though it still sounds muddy. There’s an idea in there somewhere but I think the lack of editorial judgement and inability to undo mistakes limits this to the “shit” pile.

03 Reverso
Now I do remember recording this one. It was a summer’s evening and I was still living at home and I had my bedroom window open and the sounds of summer were filtering through my headphones when I discovered this great reverse echo delay effect on the Digitech RP10. The main guitar line holds the song together with the bass and guitar synth following. Of course, the guitar was done in one take, no edits and everything else added afterwards. I really like this one because it is unique, even though some of the bass playing is very, very ropey.

04 Hevisqal
This was recorded using the Korg AX10 and a few of the subsequent tracks were done in a similar fashion with a pre-programmed drum pattern triggered and me laying down the lead guitar lines over the top, adding bass and whatever last. The idea was that you just played and played and somehow made it fit. There are some good sounds here but it needs to be recorded on a proper multitrack system, edited and mixed properly – rather than this stupid stereo bouncing system I was using.

05 Acoustisynth
Me trying to pretend that I could fingerpick and some splurgey guitar synth mush in the background.

06 Joe ’96
Now I have memories of recording this using the Korg AX10 and the guitar synth at the same time and jumping around on one leg from pedal to pedal getting these weird squeaking noises – because the lead line and all the squeaks and pops were played live with just bass added later. So you have this weird layered stereo wall of sound – it’s still too long and meandering. Parts of it reminded me of the Joe 90 theme tune, so hence the cribbed title.

07 Nothing to Do
A song about unemployment that shouldn’t even be on this collection…

08 Deelai
Again, this is a track let down by bad editing and me just running out of steam on it. Yes, by this time I had discovered the delay pedal and was intent on making the listener sick of hearing it.

09 Jazza
This is another track where the lead guitar line was triggering off a guitar synth at the same time and mixing three sources into the mix at once, with the bass and guitar synth added later. Could have been better if I’d done this on a digital system – to many fudges and lacklustre playing to be taken serious, but I make a little go a long way.

10 Tinkitar
This is the end section of another track called “Let Your Fingers Do the Walking” but it was castrated and set free to exist in this format and gives an indication of ideas to come – thinks certain sections on “START” and “Tempest”. The lead guitar is just too busy and too flakey.

11 Descender
I quite like this one – again we have three or four multitracked guitars holding down the groove with some bass backing. This is beginning to indicate where my recordings would be going in the future and is really a “missing link”.

12 The Road Home
More ambient nonsense with me noodling around on the Roland GR-1 with the sustain settings set to max on the patches so every note sings for a long time and you can layer notes on top of each other. Not quite soundscaping, but recorded absolutely live in one take…

Anyway, thanks to the marvels of BitTorrent, I give this album to you for FREE. All you have to do is click this link.

If you are scared of Peer-to-Peer software and don’t mind waiting a long time for a big file to download, you can get a ZIP file containing all eleven MP3 files from here.

Enjoy!

[bandcamp album=3155094802 bgcol=FFFFFF linkcol=4285BB size=grande3]

If you like what you hear, please leave a comment and if you want to support my musical endeavours feel free to purchase my music from reputable online stores such as iTunes (links to the right). Or you could just send me a dollar or a quid via PayPal to help me pay for new guitar strings and the running of this place.