so i made a whole new batch


I have so much love for this game! 

I honestly see a lot of myself in Mae. I only wish I had her sense of humor! And Jack made this such a wonderful experience! I think I found my new favorite series and I’m looking forward rewatching it many times. If you see this, dude, thank you. <3

In any case, here’s the whole batch of edits in one post! 

All stills from ‘Come Meet Me!’, gifs from, uh… multiple episodes of Night In The Woods.

Andrew Farriss talks Kick track by track

Guns In The Sky

“Michael wrote this one. It started off as a demo that we cut in Hong Kong. I helped him program the drum parts on a Roland 707 that I had. He had a very clear idea of how he wanted the song to go, which I totally respected.

“We brought the demo back to Sydney, played it for the other guys, and they all loved it. Tim does an amazing guitar solo – it’s so harsh and biting. Everybody else really dug in and made the tune rock pretty hard. It’s like hip-hop and heavy metal in spots.

“Michael’s vocal is so important to how the song works. There isn’t a trace of irony or glibness to what he’s saying. It’s no bullshit.”

New Sensation

“This is part of the first batch of songs that Michael and I wrote for Kick. It started out with a blues feel, and the demo had a funky drum box pattern. Even now, the verse moves along in a typical blues pattern, but when it gets to the chorus it gets kind of strange.

“The notes, the whole feel, it’s definitely weird and quirky. I love Kirk’s sax playing, Jon’s drumming is amazing, and Garry’s doing incredible things on the bass – the whole band is so solid. They really took hold of a song that doesn’t make any sense at all.

“It still amazes me to see audiences going crazy to it. Really, I think New Sensation is such a odd song to have been a hit. We definitely did something right with it.”

Devil Inside

“It’s a pretty strong riff. We were on tour, and the band was staying at a hotel in Edgewater Road in London. That’s where I wrote the riff – I put it on a demo in my room. I worked out the chords, played everything for Michael, and he said, ‘That’s really good. Let’s run with it.’

“The band did a phenomenal job on it. It’s still a cracker of a song to play live, because what you hear on the record is just that – the group is performing together in the studio. There’s some overdubs, but not as many as you might think.

“I give a lot of credit to Chris Thomas for preserving that live feel. It’s a funny thing. If you know the right parts, you can pretty much play this song, and the whole of the Kick album, as a bar band. You don’t need an orchestra, you don’t need 24 tracks of backing tapes – if you know the song, you can do it.”

Need You Tonight

“Another weird, quirky song. I demoed it at home in Sydney while a cab waited outside to take me to the airport. Why I thought it was so important, I couldn’t tell you. It was this little thing that I worked on with my eight-track, and I bounced it down to a cassette recording.

“I made the plane with just minutes to spare and flew to Hong Kong, where Michael and I were working on some ideas. He loved what I played him and said, ‘Give me a pad and a pen.’ He sat down and wrote the lyrics in something like an hour. The engineer put a mic up, and while Michael sang right there, I replayed the parts, with the drum machine, onto a 24-track, two-inch analog tape. That’s pretty much what you’re hearing.”


“It has the same Roland 707 drum machine that I used to program the part for Need You Tonight. I hadn’t touched the beats per minute knob at all. And when I say ‘knob,’ that shows you how old school it was. It was way before the heavily quantized, locked-in and gridded beats per minute thing; everything had a variable air about it. It wasn’t synced perfectly. There was a drifting quality to it.

“It never occurred to me that the two songs, Need You Tonight and Mediate, could share the same beats – that was Chris Thomas’ idea.

“Michael and I wrote everything together but two songs: he wrote Guns In The Sky on his own, and I did Mediate by myself. What I wanted to create was a Brian Eno-type landscape with keyboards, one which was very emotive and gentle, against a hard funk beat.

“Michael’s vocal is like some sort of New Age rapping. It’s surreal. At the time, it must have turned people’s heads. I remember hearing it in a club in Houston, and I have to say, I thought to myself, Wow… this is pretty interesting. I didn’t have anything to compare it to.”

The Loved One

“It was written by some of the guys in an Australian blues band from the 1960s called The Loved Ones. We always loved it. It was my brother Tim’s idea to record our own version of it, just a balls-to-the-wall blues-rock track, and not be forgiving about it.

“It has a very important place on Kick in that it balances out the experimentation, us messing around with technology and trying to forge our way into the future. At the same time, it’s our tip of the hat to our rock and blues influences. I’ve got Tim to thank for that.”

Wild Life

“I don’t exactly know why we wound up zeroing in on this one. There were other songs that didn’t make the Kick album that might have been equally as good – it’s hard to say. What I do like about it are Michael’s vocals and the groove – it swings along in its own way and does things that typical pop songs don’t.

“It’s another good example of what we were trying to do overall as a band, which was to blend funk and rock. You’ve got a lot of small sounds married to heavy guitars through Marshall amps. It’s a great combination. Your ears are constantly being challenged and pulled different ways. The drums, too – there’s big, fat, ambient drums that exist in the same sonic space as these tiny little drum boxes.”

Never Tear Us Apart

“In preparing the 25 Anniversary re-release of Kick, I went back into the tape box and listened very carefully to the master recordings and some of the other studio reels, and I was amazed at the version of Never Tear Us Apart. It’s us playing live with no overdubs. The drum take is the same as what’s on the album, but there’s a different arrangement, different vocal, sax part, and there’s no strings.

“On the record, I played the string parts on a keyboard, but originally I did it on guitar. When I heard the tape again, I thought, Wow, this is pretty cool. It shows people exactly what we were thinking when we did the demo. Chris Thomas said to us, ‘This is a great song, but I don’t know about the instrumentation. I think it needs a more formal sound.’ He suggested the strings, which worked beautifully. They have the right kind of empathy for the vocal.

“Thinking about Never Tear Us Apart, I just have to say how much respect I have for Michael as a songwriter, a singer and, in particular, as a lyricist. He didn’t play an instrument, but his voice and his words were his instruments. He was phenomenal.”


“Jon Farriss and I were talking about the song the other day. It has a groove that’s almost like blues, but it more goes into the zone of Swing. It was a funny track for us to be doing in that era. The whole music scene had moved away from your basic bar-band blues scene, which is what our background was, playing pubs and all.

“Going into the Kick album, Michael and I were in Chicago, working on a few more demos. It was a 16-track studio with a piano. We wrote Mystify there, made a demo of it and a couple of others – there was a song called Move On that didn’t make the record. The band loved Mystify, and they really did a great take of it. Tim and Kirk’s guitar playing is fantastic. The drums are just massive. The whole thing turned out cool.”


“When I made a demo of the song, it had a lot of acoustic guitar and was quite different from the album version. Michael really liked it, but he wanted to toughen it up. He thought we should get rid of the acoustics and play it as a straight-out rock song with the brass and everything. I think that was the right call.

“The band did a knockout job, but Michael really took ownership of the song. If you listen to the vocal, he’s unbelievable – such cool confidence. Great sax by Kirk, as always.”

Calling All Nations

“We’ve been playing it live again recently and having some fun with it. It fits in with the whole funk-rock genre of what we were trying to stay the course with. I think the song ties everything together with its big, thumping groove.

“We had toured a lot and had been around the world, so we wanted something that reflected what we were feeling. When you travel internationally as much as we had, and you’re under so much pressure, you do think to yourself sometimes, Well, what are we doing?… We weren’t just in one country with one mindset of people. We were talking to everybody. So to have a song titled Calling All Nations made a lot of sense.

“I love the musicianship on the track. Everybody contributed really interesting and effective parts. The song felt right. In fact, we even called one section of our tour for the album the Calling All Nations tour.”

Tiny Daggers

“To me, it sounds almost like Springsteen, but that’s not what Michael and I were thinking of as writers. When we put the demo together, believe it or not, we were more thinking, What would Elvis do?

“It changed a bit when we got around to recording it. The rhythm track is particularly cool – great work by Jon and Garry there. I actually wound up playing a pretty big guitar solo on the song, which is a first for me. Usually Tim or Kirk handle the solos, so I’m kind of proud of my bit on the guitar. And it ends the record well, so there you have it.”

I spent the whole day doing errands (just because I wanted some cacti) and cooking (I made a zucchini cake and a huuuuge batch of veggie soup), and I’m tired.

I was so drunk last night that I fell asleep before I could even try my new incense, so I’m gonna do it now and relax a bit 😊


So from this post a month ago, I mentioned that I’ll be doing Ace Attorney fanarts and should be able to make them available online.

Good news, they are now in the works! Since the batch of fanarts from the event has sold out, I am happy to draw a whole new batch of them fully by hand and inked with much love and care! I’ll be drawing a batch of 20 A4-sized works and 10(or more) A5s. Announcements on the works, previews and information should be made once the batches are completed, hopefully by the end of the month!

July is always my busiest yet most productive month of the year. Hence I shall return to my drafting table and enjoy another shot of black coffee magic.

From the sneak peak photo, guess you’d know which character made it to the list of fanarts *grin*

anonymous asked:

omg I just heard "easy to forget me" and it made me cry because I can relate to it so much and it's just so beautiful :') when will the studio version come out you know I saw that you recorded it on vine :)

THANK YOU :))) so happy you like it!!! You’ll be getting a whole batch of new songs in the next few months and that one will be on it :D


Yo guys! I had some asks asking about where I got my new avatar, and I made it! It seems popular, so I thought I’d make up a whole batch! (½ posts other is here) Please reblog if you are using and please do no remove the watermark in the corner of each. Sorry for the terrible quality, there was only so much I could do with the screenshots.