HALLEY’S APPARITION
ROOK AT ME!
2016
This ended up being the final release for mine and Joe’s record label, Super Sick Records. There are a lot of reasons that running the label was fun for both of us, and for me one of the nicest rewards was an excuse to write and record more Halley’s Apparition. I’m glad that however much music we make, and however many years of experience we bring to it, we still end up making EPs full of seagull noise and non-rapper guest rapping, named after a misheard line from a classic children’s film.
thank you driver (for super sick records annus 2016)
2016
We wrote this track to be part of the label’s annual compilation album - we were nearly wetting ourselves when we landed on ‘Annus’ for their name - as one of a handful of previously-unreleased artist tracks. This is probably my favourite opening for a track that I’ve written, one of those rare times that the energy a song has in your head is exactly what it ends up with.
peter, out (for super sick records annus 2015)
2015
Another track written to be part of the label’s annual compilation. I wrote the lyrics about my brother and sister-in-law’s upcoming wedding, and they’re still some of my favourites. The first track where we used synth bass and programmed drums throughout, I still really like the sound of this - would you ever notice it’s one drum loop all the way through?
I LEAVE YOU ALONE FOR FIVE MINUTES
2014
A return to making Halley’s Apparition tracks after a few years’ absence, Joe and I wrote and recorded this EP as the first release for the label. It felt great to bring both of our individual musical experiences from the break back to the familiar place of working together. We had a definite way we wanted the EP as a whole package to sound, and I think we got there.
HALLEY’S APPARITION
2008
This album took a lot of time to make and record. It’s - if my memory is working - the only album where Joe and I worked on pretty much comprehensive demos for every track before even going into the studio to record the finished album. It means you get not only plenty of rich, very specific extra adorning parts in the songs, but also plenty of more ridiculous musical hangovers born from recording as you write at one in the morning.