• live at Countdown Café

  • Lorelei (song)

  • What Are The Odds (song)

  • Aan de Andere Kant

    ‘Aan de Andere Kant’ means as much as ‘On the Other Side’. Fellow composer and producer Rapidi (Jan Jaap Snellen) and I made the soundtrack for this eclectic multi media children’s theatre show. It was great to work with Rapidi, but it was also great to work with theatre group Winterberg, who made a complicated and layered, yet easy to digest show with puppets, animations and actors.

  • Two Dreams At The Same Time

    Two Dreams At The Same Time

    Two Dreams At The Same Time is the title of the newly released track (February 14, 2022). It features Rosie Stevens, who is known from the Dry Riverbed Trio, backed up by violin player Oene van Geel on cello, Eva Sofia (who is known for her solo project Veya) on violin, Jan Jaap Snellen and Peter Hordijk of Rumble Royale on keys and bass, Flora Dolores (the singer of Draax’ former band The Spinshots) on backing vocals and Danielle Pijpers of Comet Falls on drums. Martin Draax wrote the song and produced it, and plays guitar

    Mixed by Lars Blakenburg en mastered by Kramer.

    Laura A Dima did the make up for the clip, and Carola Jense-Wiede tailored the suits and dresses after Draax’ design.

    ‘Two Dreams’ is inspired by a quote by Martin’s partner Laura A Dima, who one day woke up asking ‘can you have two dreams at the same time?’. Dima and Draax have been working together ever since they met on a train station where Martin recognised in her the main character of his comics and animations for the past 21 years – and now they happened to be waiting for the same train. They developed the instagram soap artwork ‘Multiple Reality Disorder’ for which Martin wrote a song: Laura shines as all the characters in the videoclip that comes with the project. Draax also wrote the soundtrack ‘Music For Fingers’ to go with Dima’s installation ‘The Finger Rub Rug’, featuring 1300 replica’s of Draax’ fingers.

    After writing down Dima’s question, Martin wrote the song dedicated to Dima. It combines unusual drum patterns with surf guitars and strings, and makes use of two different scales at the same time. The result is a song that refers to music from the Golden Era, but yet is something completely different. It’s up- and downtempo at the same time, it’s sharp and direct as well as dreamy and melancholic. ‘Two Dreams At The Same Time’ is the best of both worlds.

    The Bass Benders

    The Bass Benders is not a band, but ‘a way of working’ – to quote Robert Fripp when asked about King Crimson. As Draax writes his material, he asks befriended musicians to play parts. As draax keeps the overview of the production, musicians can focus on their contribution: they come to the studio one by one and there get the time and space they need to excel. The pool of musicians around Draax can all be considered ‘The Base Benders’.

  • Line of Life

    Line of Life is the very first song i wrote for the Spinshots. Just before we quit after 9 or 11 years (i forgot what it was) this version made it to be the B side of the singe ‘Balkan Dinosaur’, and I am really happy we recorded it. It never reached it’s full potential but i still like to hear it – there are some versions on the web so give it a try 😉

     

  • Balkan Dinosaur

    I wrote ‘Balkan Dinosaur’ for the Spinshots in an attempt to mix ‘Balkan’ with ’70s ‘glam’Rock. It’s part of the EP series ‘Seven Bullets, One Gun’ in which we unfold a story about a young woman being murdered. Fans can find out who the killer is by following clues from lyrics and the graphic designs of the covers.

  • Music For Fingers

    ‘Music For Fingers’ was written as a quadrophonic soundtrack with five speakers. It had 4 ‘atmospheres’ coming from the directions where the speakers were positioned and a fifth, ‘haptic’ speaker under the artwork ‘The Finger Rub Rug’ by Laura A Dima.

    The Finger Rub Rug was an art installation: A rug the size of a single bed, having 1300 replicas of my fingers was put in a white room where visitors were allowed one by one. People were instructed they could do what they wanted in the room; there were no cameras, you were truly on your own. People who dared to lie down on the mat would feel an extra heart in their chest (the fifth speaker was positioned below the mat.)

    The music i wrote for The Finger Rub Rug was having four atmospheres: you could either concentrate on the scary part, the witty part, the harmonic, natural part or the erotic part. I was inspired by the look of the fingers and thought of what you can do, with fingers. We think it is our brain that made us who and where we are, but fingers pull triggers. Fingers touch to find out if something is real. Fingers can strangle and caress.

    So the ‘Exotica’ style soundtrack of course is inspired by the works of Danny Martin and Les Baxter. To make it publicly available, i made a stereo version of the soundtrack and presented the different ‘islands’ (atmospheric tracks with an identity of their own within the soundtrack that emerge out of the waves of the sound ocean) s seperate songs. enjoy!

     

  • Music For Fingers

    This album is the soundtrack that was composed for quadrophonic play + tactile speaker to go with the art piece by Laura A Dima called ‘The Finger Rub Rug’.

    Laura made a rug of 1300 replicas of my fingers, and placed a heat blanket and a tactile speaker with a heartbeat below it. Visitors experienced the Rug in a designated room with four speakers: one gave ‘scary’ sounds, one gave ‘playful’ sounds, one gave ‘nature’ sounds and one gave ‘erotic’ sounds. Laying on the Rug and feeling the extra heart beat in your chest, made you merge in an ocean of imagination, with the songs in the soundscape as islands.

    credits

    released October 23, 2020

    Martin Draax: composition and instruments
    A big thank you goes to Lars Blakenburg and Jan Jaap Snellen.

  • Pigeons & People

    This is a song about the dynamics of Amsterdam, the city I live in, the city I have always loved and learned to hate. I wrote it locking myself up for three days in a house of my friend with only a guitar and an amp – told myself I could only come out once the song was written.

    Then I made arrangements and asked friends to play parts: Janfie, who played the clarinet, Edwin, who played the drums, Jaap, who played the organ and Floor and Walley who sang backings.

    lyrics
    MDMA at NDSM, a car was set on fire
    I think it was some kind of band playing the Tanker
    We crossed the river to the Bunker
    Pete knew he had to kick his ambitions into gear
    as he aimed for the Golden Bent that yearPigeons and people, crammed in a sinking hotspot
    Day-tripper jumps from a hotel
    872 bridges to burn but I sent a card ‘all is well’
    It takes 11 million wooden poles to rise a magic centreAmsterdam
    I know you won’t love me as much as I love you

    Cigar box houses leaning on each other
    Knock one out and the whole town trembles
    Facing bricks, spy holes in the front doors
    Hoist the treasures, sell the shambles.
    And all that matters will, dressed in feathers
    Be sold and rendered obsolete

    Amsterdam
    If only you loved me as much as I love you
    Couldn’t you love me love me
    Like I love you

    At night he spirit of the village
    Hoovers over every street
    Tightening up the canal belt
    But ends will never meet

    bury your face in your pillow
    And let your conscienceness seep
    to the mud ‘tween millions of pillars
    ‘cause all of us must sleep

    Pete and Mo, were selling horse dung
    They had Julie on the side
    She shared whispers in a secret voicemail
    And then her phone backfired
    The prettiest legs that were ever dredged
    From a canal had a bicycle attached

    Amsterdam
    If know you won’t love me as much as I love you
    If you loved me too, what would become of you?

    Amsterdam
    You are the magic centre
    Where is the key to enter
    You still are the magic centre
    But where is the key to enter

    credits
    released February 23, 2021
    Martin Draax: Lead vox, guitars, sample editing, bass, one finger organ
    Edwin Slothouber: Drums
    Wrecker Walley: Backings
    Floor van Dijck: Backings
    Janfie van Strien: Clarinet
    Jan Jaap Snellen: organsWritten and arranged, produced by Martin Draax
    Mixed by Lars Blakenburg
Recorded at Blackbird studio Zaandam
    Mastered by KramerSamples by:
    jp2012 at Freesound.org
    Michieldb at Freesound.org
    Tuig at Freesound.org
    Pillonoise at Freesound.org
    Mgamabile at Freesound.org
    P-jezisek at Freesound.org
    Genghis-attenborough at Freesound.org

    Special thanks: Jan Jaap Snellen and Lars Blakenburg

  • Sugar Skulls

    ‘Sugar Skulls’ is Draax’ take on New Orleans funk. It plays with lessons learned from Bo Diddley, The Dixie Cups, Betty Harris but it adds flavours of 60’s and ‘70s punk to it. The lyric is funny yet thought provoking as it says something about our need to judge others.
    lyrics
    Black-eyed Suze and Marigold
    Sugar Skulled angelic souls
    Black-eyed Suze and Marigold
    Still dancing but the bell has tolled.Beat the drums and stamp your feet
    Blow and strum onto the beat
    Beat the drums and stamp your feet
    Ain’t gonna save your doggone soul

    Feast with the beast
    the deceased will be unleashed
    Tonight goes up what should be down
    (cause) one day it is you under the ground
    (sugar skulled Marie, sugar skulled Suzie)

    Move your ass while having it
    Raise your hands expressing it
    Move your ass while having it
    jump and hop until you loose control

    Shake your frame and rattle it
    Embrace life but don’t strangle it
    Shake your frame and rattle it
    You and us we’re gonna have a ball

    Praise be the sun
    But we’ll dance ‘till Kingdome come
    In the end it’s safe to say
    saint and sinner end up the same way
    (sugar skulled Marie, sugar skulled Suzie)

    Marigold loves Black-eyed Suze
    In life there was no way they could
    Marigold loves Black-eyed Suze
    See their razzling-dazzling bodies stroll

    Feast with the beast
    the deceased will be unleashed
    In the end it’s safe to say
    all are equal in decay
    Let’s bring up what should be down
    (cause) one day it is you under the ground

    credits
    released October 22, 2021
    lead vox: Nikki Marina
    Drums and tambourine: Danielle Pijpers
    Bass: Peter Hordijk
    Trompet: Ruud ‘Trompie’ Kleiss
    Tuba and Trombone: Simon Glas
    Orgel and Piano: Jan Jaap Snellen
    Guitars: Martin Draax
    Backing Vocals: Flora Dolores & Ruud Kleiss
    Handclaps: Martin and DanielleMusic written Martin Draax and Jan Jaap Snellen
    Lyrics by Martin Draax
    Horns Arrangement by Ruud Kleiss
    Produced by Martin Draax

    Mixed by Lars Blakenburg
    Mastered by Kramer

    Artwork by Martin Draax

  • Multiple Reality Disorder

    This is the third single in the series ‘Multiple Reality Disorder’ – it happens to be the ‘title track’ if I can say that.

    This was the first song I started recording after quitting the band I had been playing in for 9 years (The Spinshots) and it relates to an art project i do with my partner laura A Dima. (See: @TheIdentityMachinery at Instagram.

    I am very proud of this song and the clip (www.youtube.com/watch?v=RTJjSI_61fo): This is the first time I operated a studio myself (as in placing mics, record all instruments and voices and do a credible premix). It made music production a lot easier once I learned to operate a studio everything myself – and i like being there a lot.

    Of course the instruments I can’t play (which are most) were played by talented friends (see credits) and that makes it all worth listening to. But we had a great time experimenting with things: The sax solo is played by Simon Kelaita, who had never heard the track before he actually played the solo on it. I stole the idea of using drum sticks ticking as a form of percussion from my childhood favorite band Adam and the Ants and I think it works for my song just as well 😉

    lyrics
    Today I am a Scene girl
    but tomorrow I don’t know
    ‘cause I can be a fitmum
    or a dancer in a show
    I’m not a Merry Prankster ‘coz I’m keeping it real
    but what’s real for me might not be a big dealI’m liked by the thousands
    but you know it’s all a scam
    It makes me wonder if there’s life
    after Instagram
    I’m somebody new every other day
    And this is what the doctor had to say:

    Eh, uh… I dunno – This is a NEW syndrome, this is without precedent…
    i think I’ll call it ‘MRD’

    Chorus:
    I’ve got a A Multiple Reality Disorder
    A Multiple Reality Disorder
    A Multiple Reality Disorder
    And I can Do anything that I want

    One day I’m a schoolgirl
    but next a Top Model
    A Hedonist, a fan of God
    a nurse or a robot
    I’m an animated Readymade but redesigned
    refurbishing the corners of your mind

    I’m a Catfish of my future self
    transcending algorithms
    I feed on people’s loneliness
    and prejudiced opinions
    We are all reflections of each other’s minds
    I’m a multilayered one of a kind

    I’ve got a A Multiple Reality Disorder
    A Multiple Reality Disorder
    I’ve got A Multiple Reality Disorder
    And I can be whoeverthefuck I wanna be

    solo

    I’ve got a A Multiple Reality Disorder
    A Multiple Reality Disorder
    I’ve got A Multiple Reality Disorder
    And I can do be do be do be do be do whatever I want

    credits

    released July 30, 2021
    Eva Sofia: lead vox
    Wrecker Walley: Backings and the Doctors voice
    Floor van Dijck: Backings
    Jan Jaap Snellen: Piano
    Peter Hordijk: Bass
    Simon Kelaita: Sax
    Edwin Slothouber: Drums
    Rob Berends: handclaps
    Martin Draax: guitars, backings, noises, drum sticks, one finger organ and handclapsWritten, arranged and produced by Martin Draax
    Mixed by Lars Blakenburg
    Recorded at Blackbird studio Zaandam
    Mastered by Kramer

    Special thanks: Jan Jaap Snellen and Lars Blakenburg
    Follow @theidentitymachinery

  • Angels Never Stay

    However much we might think we found the love of our lives, inevitably we have to part at some time.
    Angels never Stay
    It’s when you see me
    that I’m not there
    Hold me closer and say you careI’m not myself dear
    I am what you think
    i am an angel tied down by your will
    One day I’ll spread my wings and fly
    Angels don’t stay, they just pass byDream on, my darling
    I do love you too
    But an angel is just an appearance
    One day I’ll spread my wings and fly
    Angels don’t stay, they just pass bycredits

    released June 16, 2021
    Written, arranged and produced by Martin Draax
    Flora Dolores: Lead Vocals
    Daniëlle Pijpers: Drums
    Peter Hordijk: Bass
    Martin Draax: backing vocals, guitars, noises, one finger organ
    Janfie van Strien: Clarinet, Bariton sax
    Gijs Levelt: Trumpet
    Jan Jaap Snellen: Keys
    Wendy van Wilgenburg: Cello
    Regina Yap: PercussionSpecial thanks: Jan Jaap Snellen and Lars Blakenburg
    Mixed by Lars Blakenburg, Mastered by Kramer
  • Sugar Skulls

    ‘Sugar Skulls’ is Draax’ take on New Orleans funk. It plays with lessons learned from Bo Diddley, The Dixie Cups, Betty Harris but it adds flavours of 60’s and ‘70s punk to it. The lyric is funny yet thought provoking as it says something about our need to judge others. I felt extra inspired to make this song after seeing Penny Lane’s documentary on The Satanic Temple… A must-see, by the way!

    lead vox: Nikki Marina
    Drums and tambourine: Danielle Pijpers
    Bas: Peter Hordijk
    Trompet: Ruud ‘Trompie’ Kleiss
    Tuba and Trombone: Simon Glas
    Orgel and Piano: Jan Jaap Snellen
    Guitars: Martin Draax
    Backing Vocals: Flora Dolores & Ruud Kleiss
    Handclaps: Martin and Danielle

    Music written Martin Draax and Jan Jaap Snellen
    Lyrics by Martin Draax
    Horns Arrangement by Ruud Kleiss
    Produced by Martin Draax
    Mixed by Lars Blakenburg
    Mastered by Kramer
    Artwork by Martin Draax

  • Omnes Tredecim Boni

    Omnes Tredecim Boni was Paxy Dragon’s answer to the accusation that we would be ‘pretentious’. We thought we had a perfect understanding of perspective so we gave our album this Latin title, that loosely translate to ’13 big hits’.

  • Tentacles

    ‘Tentacles is part of the music I wrote for Laura A Dima’s The Finger Rub Rug’.

    You can hear the complete soundtrack here.

  • Qui est ‘In’, qui est ‘Out’

    ‘Qui est ‘In’, qui est ‘out’ was written by Serge Gainsbourg. I arranged this cover version and we recorded it with the Spinshots for the compilation album ‘Gainsnord’ – Ditch band playing music by Serge Gainsbourg.

  • Playful Fingers

    ‘Playful Fingers’ was made as part of a soundtrack for an artwork by Laura A Dima. Full album here.

  • Love Antenna

    ‘Love Antenna’ was the final song I wrote for the Spinshots. I think it is one of our best productions – I really love everything about it.

  • exotic fingers

    ‘Exotic Fingers’ was written for an artwork by Laura A Dima – as part of the soundtrack. On spotify you can find the stereo version of the -originally quadrophonic- soundtrack as a whole. just type my name and ‘Music For Fingers’

  • Don and Dave’s Sit And See It Happen Show

    ‘Don and Dave’s Sit And See It Happen Show’ was a cynical rock opera, written at the early days of ‘Opinion TV’ that is nowadays so common. The story is about two TV preachers who both have a habit: Don likes young girls, and Dave likes the drug ‘Serotonine’ a bit too much. Don and Dave was what happened to the world 20 years later: opportunistic narcissist politicians and celebrities guiding the masses, having a big mouth about moral and such, without caring for anybody else but themselves.

    The story develops around a young ‘Romeo and Juliet’ kind of couple – the son of a ‘Don And Dave addict’ and an asylum seeker. Unfortunately, Paxy Dragon decided to quit in the process of making this rock opera. But here are the songs I wrote for it.

  • Cuba Libre

    ‘Cuba Libre was written by Ruud ‘Trompie’ Kleiss and me, and the lyrics are by Flora Dolores and me. At the time we called the music of the Spinshots ‘Neo Exotica’ – which meant a danceable kind of beat-music mixed with Latin, African, eastern European and Indian music.

  • Smiths of Rhythm & Tunes

    ‘Rhythm and Tunes’ is in my opinion the best name we had to describe the music of the Spinshots. I never wanted to be tied down by a genre and this was a humorous way of saying that we could not be placed in a genre. The mini album ‘Smiths of Rhythm and Tunes’ is not the best album we did but it was played more or less live in the studio, so it showed what we could do.

    I like the song ‘Smiths of Rhythm & Tunes’ though. Too bad we never made a recording of it the way I fancied. And i like ‘Cleans-o-tech’ a lot still.

  • Blue For The Occasion

    ‘Blue for the Occasion’ is Paxy Dragon’s third CD album. (hey guys, those were the ’90s!)

    We recorded the drums at Studio IJland, and the rest in my house. I lived in a squat at the time, and the band members stayed over for a week, living on coffee and pizzas. We stapled mattresses onto the walls to sort of respect the neighbours and worked for a week, perhaps two weeks in a row.

  • Love Antenna / Cuba Libre

    Love Antenna is one of the last songs i wrote for the Spinshots. i made it a habit on the covers for the single series ‘Seven Bullets, One Gun’, to already show a propagation for the next single. This would be ‘The Great Black Open’ – hence the space girl.

    Seven Bullets, One Gun was meant as a whodunit, our fans could solve a murder with hints in the lyrics and sleeve designs. But i already knew by the time Love Antenna came out, that this was our last single. Hence the seven lost & lonely astronauts.

  • Pride Before Fall – live

    The Spinshots performing ‘Pride Before Fall’ live in the studio at Radio 6.

  • making the title for the poster

  • Tentacles

    ‘Tentacles’ is the name of this music and clip. It is a promotional videoclip for Laura A Dima’s ‘The Finger Rub Rug’ in which she caster 1300 replicas of my fingers and made a single bed from them. She made an installation in which The Finger Rub Rug was in the middle of a designated white room, with a heat blanket beneath it and a haptic speaker playing a heart beat.

    People were left alone in the room and could do what they liked: if they would lie on the Rug, they’d hear my music coming from four sides: one side had playful sounds, an other side had scary sounds, one resembled ‘nature’ and another on seemed erotic. All music was composed on the rhythm of the heartbeat you felt pulsing in your chest. This increased the emotional effect and positioned the questions Laura wanted to provoke with her work.

    To promote the exhibition, Laura had four one-minute films shot. Video is shot by Fabian Landsweerd, I edited the rushes to four trailers with excerpts of my music. Oh and I did the titles 😉

     

  • Skilled Fingers

    ‘Skilled Fingers’ is the name of this music and clip. It is a promotional videoclip for Laura A Dima’s ‘The Finger Rub Rug’ in which she caster 1300 replicas of my fingers and made a single bed from them. She made an installation in which The Finger Rub Rug was in the middle of a designated white room, with a heat blanket beneath it and a haptic speaker playing a heart beat.

    People were left alone in the room and could do what they liked: if they would lie on the Rug, they’d hear my music coming from four sides: one side had playful sounds, an other side had scary sounds, one resembled ‘nature’ and another on seemed erotic. All music was composed on the rhythm of the heartbeat you felt pulsing in your chest. This increased the emotional effect and positioned the questions Laura wanted to provoke with her work.

    To promote the exhibition, Laura had four one-minute films shot. Video is shot by Fabian Landweert, I edited the rushes to four trailers with excerpts of my music. Oh and I did the titles 😉

  • Deep Shit OST

    The Soundtrack for Deep Shit is very important for the story. Not only did I try to run through pop music history from -say- the 40s to the 70’s; the music shows that we have different interpretations of what we hold for the truth. Two bands wrote the same song accidentally but their execution is very different. One is a punk rock version in English while the other one is a synth wave version in French. This concept foreshadows the idea of a Platonic ‘Ideal World’ where ideas are pure and we tap into that world to work with derivates of the original and pure ideas.

    In the animated short, the animated characters travel to the world of the artist creating them, to ask him to design them as more successful. They get help from the devil, making the music even more fun: popular music and satanism always went hand in hand.

    The music was written by me and performed by the Spinshots, Boyd Small, the Van Dijck Sisters and Edwin Slothouber.

  • pigeons and people

    Pigeons & People is my first single in the series ‘multiple Reality disorder. The idea of the album is that it is going to be an eclectic bunch of singles in which I can record and produce whatever I want with who ever I want (and wants to work with me of course).

    This is a song about the dynamics of Amsterdam, the city where I live, the town that I love and learned to hate.
    Edwin Slothouber: Drums
    Wrecker Walley: Backings
    Floor van Dijck: Backings
    Janfie van Strien: Clarinet
    Jan Jaap Snellen: organs
    Martin Draax: Lead vox, guitars, sample editing, bass, one finger organ

    Written and arranged, produced by Martin Draax
    Mixed by Lars Blakenburg
    Recorded at Blackbird studio Zaandam
    Mastered by Kramer
    Special thanks: Jan Jaap Snellen and Lars Blakenburg

    see the video here

  • Live at Paradiso

    The Spinshots live at an Amsterdam Beat Club event at Paradiso Amsterdam

  • live at Woodstock

    Just a bit of a live gig we played at Woodstock (hold your horses, it’s a venue at the beach in the Netherlands, not the famous festival)

  • qui est ‘in’, qui est ‘out’

    The Spinshots were asked to bring out a cover of this song by Serge Gainsbourg. After the demo was agreed on by Charlotte Gainsbourg, we recorded it at Rob’s Berend’s studio and I finished it with extra tracks at home. It made it to a compilation with Dutch artists covering Serge Gainsbourg songs, called ‘Gainsnord’ – curated by DJ Guuzbourg.

    For that album I did the graphic design by the way, I am sure you can find it somewhere on this site.

  • live album

    The Spinshots had quite a live reputation. However, there are hardly any live recordings around. But here are a few.

  • Kathy

    ‘Kathy was the name of a song that was favourite amongst our fans. The song is not on the album, but we had a fan in the studio shouting for it, which is the final thing you hear on this record, after the last song.

  • Omnes Tredecim Boni

    Omnes Tredecim Boni is fake Latin for ‘Alle Dertien Goed’, which is Dutch for well, loose translation: ‘Thirteen Top Hits’.
    This is a bit of a joke since someone once  said we were pretentious. So we thought a Latin title is exactly what we needed.

  • seven bullets ep series

    These are the EPs that the Spinshots brought out as a ‘Whodunit’ – all together the EPs were one album unfolding a story about a girl who got murdered. The audience was invited to find out who did it.

  • gone before he left

    ‘Gone Before He Left’ was my attempt to write a John Barry style kind of song – as if related to the James Bond franchise.
    For this single, drummer Emanuel Wiemans and I did the production and we had great help by Sietse van Gorkom, who arranged the strings orchestra on this track.

    The cover was drawn by Emanuel Wiemans, who is, apart from an excellent drummer also an excellent visual artist.

    On the B side of the vinyl is the signature tune for my animation film ‘Deep Shit, sang by Boyd Small, and ‘Comic Sexy’, the hymn for the fashion brand I started up with André Oosterman. It is used in a videoclip and was played in venues for the models to dance the special ‘Comic Sexy’ choreography to.

  • demos

    Maybe there is another person in this world who likes this: some demos i made – most songs never made it to an end result on an album. Ugly sounds with fake drums and boxed horn sections. Demos made at home, drinking too much coffee, making it too late each time. But i like the compositions and the arrangements, i like the intentions. i like the potential. So who knows, if there is somebody in this world who hears the quality – it’s for you!

  • Blue for the Occasion

    ‘Blue for the Occasion’ is. except for the drums, recorded in my kitchen. We nailed mattresses to the walls and installed ourselves behind the computer drummer Edwin Slothouber brought over (which was then the only in our circles that was fast enough).

    We had food and drinks for a week and recorded this album. We prerecorded the drums at Studio Yland. The song ‘Goodlooking Girls Are Always Right’ was considered the best song title of the year by a critic.

  • never so right

    ‘Never So Right’ was the Spinshots’ first and only album. We tried to make a variety within a range of ‘exotica’ related styles and at something of ourselves to it. All songs on the album were written by me, except ‘Qui est ‘in’, qui est ‘out’ which was written by Serge Gainsbourg and ‘If I Would Fall’ which was written by Andreas Tscholl and Hans van Grasstek.