Here's Some Songs, by Taylor Abrahamse

Here's Some Songs

by Taylor Abrahamse

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In late 2009, Taylor received a phone call from himself requesting he record a triple album in a month. He hopped right to it - recording, writing & rewriting this strange collection round-the-clock in his virtually abandoned University during the December break. Partly improvised, partly meticulously prepared - this is a true exploration of concept album - avante-garde folk/pop enthusiasts rejoice! .........................................
Includes a full 43 page lyric, credit, art & photo booklet.

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Full Digital Discography

9

releases

Get all 9 Taylor Abrahamse releases available on Bandcamp and save 35%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Taylor Abrahamse (Chipmunks Deluxe Edition), Live In Lockdown Vol 1, Taylor Abrahamse (Deluxe Edition), You're Still Here (Silverthorn Demo), Digit, The Hyphenates (Vol 2) - Merry Hyphenates! (Permanent Tentative Title), The Hyphenates (Vol 1), The Best Of Taylor... For Tape! (2007-2009), and 1 more. , and , .

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1.	Good Things Come 04:39		buy track
2.	Good Headphones 01:29		buy track
3.	Phones It In (Taylor's Phone In Service) 03:25		buy track
4.	The Father Of Imagination 04:12		buy track
5.	Uphill 02:21		buy track
6.	...You Came My Way 03:51		buy track
7.	Taste Of Heaven, Taste Of Hell 03:17	info	buy track
8.	...In Passing 02:14		buy track
9.	Put It On Again 03:45		buy track
10.	Ribald The Rabbit 02:13		buy track
11.	Mariam Al-Naser - Heaven 02:15		buy track
12.	Cold You Be Glad?? 03:04		buy track
13.	Time Goes By (Can't Help, I'm Fakin' It) 02:02		buy track
14.	Please, Mr. Newsman (How Do You Love Someone?) 01:05		buy track
15.	Real Love 04:16		buy track
16.	Hopeless Romantic Forever 03:10	info	buy track
17.	Hold Me Down Sally 02:33		buy track
18.	Daylight Star 02:50	info	buy track
19.	Nothing 03:51		buy track
20.	I Don't Know You 06:23		buy track
21.	Taylor Abrahamse & Anonymous - A Common Treatise On The Digital Music Industry 00:37		buy track
22.	Extreme Hit Or Miss Part 1 (The Cruise) 05:24	info	buy track
23.	Taylor Abrahamse & Bryn Scott-Grimes - Extreme Hit Or Miss Part 2 (The Llama) 02:21		buy track
24.	This Might Be Considered Racist, Though Not To A More Developed Species Like The Boskops 01:06	info	buy track
25.	Phones It In (Mickey D's) 01:31	info	buy track
26.	Taylor Abrahamse & Bryn Scott-Grimes - Waiting For Myself Not To Need To Wait Anymore 02:20		buy track
27.	Reverse Reverse Psychology 02:23		buy track
28.	Colonial Basterd 04:58		buy track
29.	Oh No! The Groban Disciples Forgot Their C# Tuning Fork! 06:37	info	buy track
30.	Nice Job, A**hole! 02:49		buy track
31.	Ten Seconds (The Crap Song) 00:52		buy track
32.	Real People 05:27		buy track
33.	I Don't Need You (But I Wish I Did) 02:56		buy track
34.	Hey Poser! 02:01		buy track
35.	Lady Music 04:16	info	buy track
36.	Party And/Or Have A Good Time (Followed By Partying And Having A Good Time) 03:30	info	buy track
37.	Taylor Abrahamse feat. Bill Elder - Phones It In (Socks) 00:35		buy track
38.	Your Tickle Of The Year! 04:31		buy track
39.	Genes On The Other Side Of God's Clothesline 03:42		buy track
40.	Mr. Moan Of Banjosmileselfdenialhappyplace 01:29		buy track
41.	Christmas Lady (On The Billboard Sign) 02:30		buy track
42.	Taylor Abrahamse & Bryn Scott-Grimes - Gettysburgers 02:46		buy track
43.	Sleek Child In 2029 Wasteland/Magic (I Do Believe)/Steve Rik's Beehive/Fern Gully's Last Wilting In Ralph Bakshi's Private Vegas 02:16		buy track
44.	Valentine 02:32		buy track
45.	Taylor Abrahamse & Victoria Di Giovanni - The Great Gig In the Room 02:37		buy track
46.	A Hypothetical On David Hyde-Pierce 01:39		buy track
47.	Somehow I Sense 02:39		buy track
48.	Home/Wild Honey Good Things 02:42		buy track
49.	Salt Shaker (Show Me The Future)/If Only I Had A Brain 03:30		buy track
50.	John Cage's 1:44 01:43		buy track
51.	You Came My Way (Reprise) 00:51	info	buy track
52.	Keep It To Yourself 02:12		buy track
53.	Good Morning/Spider Eggs/Jazz In My Plants/Get The F*** Out Of Yourself (Nunavut Boy)/Chickadee/I Don't Know You (Reprise) 03:26		buy track
54.	A Phone! Who'd Guess? 01:12	info	buy track
55.	Happy Birthday (#1/129 Of The Taylor Any-Situation Sound-Bytes Series (A.S.S.S)... Look Where The Dignity Building Used To Be For The Billboard Today!) 00:01		buy track
56.	Dear Friend: 03:55		buy track
57.	Taylor Abrahamse & Victoria Di Giovanni - Lonely Nights 03:10		buy track
58.	Love 05:08		buy track
59.	Phones It In (Hands It In) 02:43		buy track
60.	The Father Of Imagination (Scuba Remix) 04:11		buy track

about

Reflecting on 'Here's Some Songs' on May 30th, 2013:

One day when I was 18, I received a phone call from myself. 'Make a triple album in four days'. I eventually bargained him into a month. And so, that became the underwhelmingly titled 'Here's Some Songs', a digital-only triple album I spearheaded and recorded, edited, mixed (and mostly wrote) in roughly one month at the end of 2009. The tunes are mainly skeletons, not fully fleshed out, but all tie together in a lovely loose narrative, gradually twirling into a descent to mournful insanity & back up again for an obligatory happy ending.

I wanted to make it for a couple reasons. I wanted to train listeners to listen to sound in a different context besides 'these are 12 songs that were slaved over until they were just right'. I wanted people to listen like how ethno-musicologists might listen to records of indigenous tribes. I thought 'how awesome to have that sort of listening context slapped onto an artist in the 21st century? This is what a crestfallen teenager makes in 2009 if he traps himself in a wasteland with nothing but a guitar, a laptop & his brain, isolated from the outside world, with no concern of commercial appeal. You could argue in the 2300's they'll listen to everything we've made now with that sort of context, but its a surreal pleasure to experience that now.

Also, I wanted to pull a bit of a Kenny Vs Spenny episode in musical form, placing myself in a ridiculous situation to accelerate my development. I theorized musical authenticity couldn't help but shine through in my music if all I did was record. Its too much work to resist the truth in such a structure. This whole creature was also a pleasant diversion from preparing for music theory & Brazilian folk guitar courses which didn't interest me one bit compared to the infinite buzz of songs in my mind that needed to be documented.

This collection was mostly recorded up at York University in a cold dorm at Winters College around Christmas break - A campus used to 50,000 people, suddenly became nearly a ghost town. I remember at the start trudging a few miles through knee-deep snow to the closest Long & McQuade to rent mics and cables while listening to Johnny Cash IV on an old CD player. I also intimately remember due to the snow, some nights I got stuck sleeping & recording in one of York's many rehearsal rooms under brutal lights that couldn't be shut off, just my jacket overtop trying to block the light and still curl around enough that it could also cushion the cold cement floor.

Simultaneously during all of this, I would send off tracks to a lovely guy I met on campus who was from Trinidad, who could shoot the tracks through a few compressors to do a basic mastering job on the fly for me. The whole thing also became a bit of a both internet collaboration with far flung Youtube friends featured on certain tracks, and other creative types around my dorm before they skedaddled for break.

There are also certain songs written around this time that found their way onto my upcoming album - fully produced on that, naturally. 'Good Things Come' and 'Nothing' being obvious contributions.

Some other songs I'm pleased with are 'I Don't Know You', 'Taste Of Heaven', 'Groban's Disciples', 'Genes On The Other Side Of God's Clothesline', 'Lonely Nights' (With Victoria - that track was our first improv together - what an angel), 'Hold Me Down Sally' (Want to hear some ferocious honesty?), 'Daylight Star' (With generous contributions by the immensely talented Wim Oudijk), 'Ribald The Rabbit' (Lyrics written in one pass, recorded a few minutes later), 'Love', 'The Father Of Imagination', 'Somehow I Sense' ...Well, I'm oddly pleased with all of it if I drive myself crazy enough.

This definitely epitomizes a unique part of my development - and is certainly a concept & execution I'm proud of, for what it is. Perhaps its the narcissists easy way out of facing the rejection of making something that's considered a 'bad album' to instead make an album basically beyond categorization. Or, perhaps with this, I'm trying to train people to embrace every sound, however prickly, uninspired or sleep-deprived it may be - transcending those self imposed binaries of what is 'worthwhile' or not to hear.

For those willing to hear the thing all the way through with an open mind - I hope your avante-garde pop censors are tickled into a delirious, mildeww-y White Album-y black licorice state of infinite creative possibilities.

Taylor

credits

released February 3, 2010

Performed entirely by Taylor Abrahamse, except -

Tracks 7, 11, 51 - Piano by Mariam Al-Naser
Tracks 16, 18 - Synth Orchestration by Wim Oudijk
Track 21 - Speaking with ????
Tracks 23, 26, 35, 42 - Harmonica & additional vocals by Bryn Scott-Grimes
Tracks 45, 54, 57 - Vocals by Victoria Di Giovanni
Track 22 - Electronic Saxophone by Greg Fiske
Track 24 - Additional vocals by Jessie Rivest
Track 25 - Additional voices by Christian Esposito
Track 29 - Drumming by Simon Fuller
Track 35 - Fiddle by Braden Gates
Track 36 - Party sounds by friends
Track 37 - Additional voices from Bill Elder
Track 54 - Other end of the line, Catherine Di Clemente

See the extensive lyric booklet that comes with album download for credits, artwork, photos, info, ramblings, spam, spam bacon & spam, spam, spam and spam spam, spam spam spam spam & spam, & lyrics.

license

about

Taylor Abrahamse Peterborough, Ontario

Like a maple leaf caught in a gust above the Ontario prairies, Taylor blissfully floats between the borders of songwriting with his hook-laden hammerclaw pop.

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