'Demo Tapes' was recorded with the intention of sounding as good as possible, but not sounding perfect. It works on the concept of 'wall of sound', a type of production conceived by the producer Phil Spector in the '60s, according to which each track has a large number of instruments playing and only one should be emphasized at every moment. I wanted to join some songs in a way that were halfway between 1968 and 1980, with a wink to the '90s. Surely there will be many inconsistencies in my self-taught English, if that serves to make the album more fun or makes lyrics more ambiguous, they are welcome! The themes are placed in the order they are beacuse of very specific reasons: they carrying one another, but this is not a conceptual album. I started recording in early March 2006 and concluded, including mixes, in November 2007. Everything in my spare time. I played all the instruments on the record. Working with the design was done in parallel with the help of some friends. Months that passed between late 2007 and the time CDs were produced in late May 2008, were dedicated to perfecting the design of the album, mastering with perspective and 'negotiate' with the companies that will produce the CDs. The design and almost all photographs of the disc are mine. I did not so much a coherent overall aesthetics as the photograph that accompanies each song should read something more, give more to think about to the listener. Just in case you question about it, the Picasso's 'Guernica' horse is a real size sculpture (head and neck only!) that I did with injectable foam -it was given colour by a friend of mine who is a painter. When I'm Gone. The first track on the disc attempts to be a good discharge of adrenaline. I parodied and paid homage to Led Zeppelin: I have always liked their music but nobody criticizes their macho lyrics (which is why I cry 'let's play a male chauvinist pig one!'). The central solo was recorded in a different session, with other microphones, to bring about a change in the sound environment: more brutal and rampant. At the end I included synthesized sounds for that track did not stay anchored in the '70s sound. The song is full of to and from guitar phrases to create parallel sensations. Nonpareil. It is the most accessible song of the disc -that's the general opinion. I included it because several friendsof mine have always said that is extremely catchy, but it's not my favorite. The co-production of a friend, Manuel Pérez Cedrés, did much for 'Nonpareil.' It is a beatle-kind love song: even the final chords are reminiscent of the coda of 'Twist And Shout' and a voice yells 'it's been done before!' Along with 'From Inner Space' and 'Loner' is the only track that contains sequenced percussion. Brief Description About The Pleasure Of Chaos. On this track I tried and atmosphered a disturbing tale: the story of a man believed to have slept all night but has been seduced by three wicked angels. It is a very changing song, which began narrating the state in which he finds himself. Vocals are very important. In the middle-eight I was looking to change the track to make it opener: it is the only time that we know how things stand outside the room, whose embrasure uncannily burns. It is one of the songs on the album I enjoy the most singing. The bass line makes counterpoint with the voice. Gnat. Started as one of the least conclusive of 'Demo Tapes' and has become the favorite of almost everyone. The verses, shattering and stubborn, contrast with the catchy chorus, where we realize that we are 'mosquitoes' to everything that happens in the world, big or small. In the margins left and right of the stereo they can be heard two fuzzed Danelectro basses: mosquitoes are heavy singing their part at all costs. At the end mosquitoes enter the scene and even sing to dismiss the track. Images Of Love. This is the low theme of the record, an intense and solitary song where I sing about what images (never innocent) do with us. The design of the booklet includes almost pornographic images seeking contrast with the lyrics. Today we see everything, see anything, but we are capable of loving too few, especially those things who do not see. The irony comes to the point where, like today are all images, I sing my love "at least is for unfold'. It is definitely a song about innocence. Limousine. A European immigrant came to California and became a 'new richman' thanks to the dirty work: business, limousine, girls, drugs ... The songs speaks of life in that limousine, a den of waste. With the bass and the drums I tried to create a base that mimics the progress of the large car by illuminated avenues. It's one of my favorite tracks on the album. I like the verses in which there is almost no melody while I sing, when they went to score they read almost like medieval melisma. The base is a combination of chords that the Western musical tradition forbids ... I do not know why, but it sounds very good. From Inner Space. The beginning, especially, and some moments of the development of the track, plays with 'samples', the basis of almost all the current music, which is built and not composed. The samples in 'From Inner Space' were literally thrown into disarray on the sequencer grid, but listening after listening they just gain a sense. The theme reflects loose sentences of those deep conversations with friends until the early hours... People usually appreciate it after many listenings, perhaps it is very complex: not in vain is the track to which I spent more hours of work on the mixing stage. Hurt Me With Your Cane Knife. Among the lyricists of love songs it has been generating a kind of absurd competition to see who achieves the most powerful metaphor of pain. This one (ironic, of course) is insurmountable: the boy asks the girl to injure him with her cane knife. The song is absolutely romantic, with the typical tools of the genre: piano, bass, drums, vocals... to accentuate the irony. The first part, with a quavering piano, belongs to a first recording session. The second part, with all the instruments together, relates to other sessions from weeks later, where I got to tune the song up to adapt it better to my voice: I used as a link an intense reverberation effect that moves from one environment to another. I composed it when I was a teenager. Red Coat And Cowboy Hat. This song was inspired by the harshness of the latest albums of Captain Beefheart. The lyrics speaks about something important that is going to happen imminently on a street, but we do not know what it is. And it is told from the viewpoint of two people who come into the street, then from the viewpoint of those on the street and, finally, from the viewpoint of a can of beer that rolls down the street and gets saved from being crushed by the wheel of a motorcycle. They have told me that the track has an air almost religious, and curiously the final verse is repeated seven times. Loner. It is one of the most ancient songs of the record. It chronicles the experiences that we had a friend and I in the apartment of his parents in a tourist town, when we were teenagers. The fact that it begins with an instrumental and ends by the voicals was an idea of the co-producer of 'Nonpareil', with the aim of "Loner" was not like all the songs, which usually begin with the voicals and include the instrumental at the end. It is the most contemporary song on the disc but I introduced some real instruments trying to bring it nearer to the rock context of the other tracks. 11. Originally, the penultimate theme was going to have a long development, with different parts and with two guest guitar soloists. However, during the recording of 'Demo Tapes' I was working on a few chords on the piano, to which I added an effect of wah-wah: I liked it so much that I soloed above, improvising in a carefree way. I am an dreadful soloist, but the lines were so concise, except for two corrections of volume and a cut of a false note, I kept the take with it's naïve stamp. It is the only instrumental in the album, but it is one of the themes that most people like. Le Petit Mort. I wanted the last track was pure intensity from beginning to end. The demonstration of that it can be done powerful rock with a piano. There are no guitars making chords, only phrases that I tried not to seem touched with six strings (for example, the solo has so much tremolo that it sounds broken). The lyrics, strong sexual references, are made up of comments I have heard or I have received over time. In fact, 'petit mort' ("little death") is how French people calls to orgasm, so the title could be translated as 'the little dier'. It's my favorite theme of the album, probably just because I love to sing it! The final guitar arpeggio, inverted, is the same sound you can hear at the beginning of the record.