This album could have been subtitled 'The best of overjoy 1999 - 2007' Although a handful of other works from this time, (still unfinished), exist, 'punkhaus', (the original name for the album), represents the most complete of the works from my 'overjoy' period. Some of these songs have been made available at times online, but this is the first time they have been offered as a complete collection for download / purchase.
Some of the earlier tracks, (Sideshow freak, Metropolis, Horizontal, Can you hear the lion? and Nintendo) were recorded completely on an Ensoniq TS10 synth workstation purchased in 1993, which to this day, still serves as my loyal midi keyboard of choice.
Although 'Make a stand' is the only song that includes vocals, and was the first written and recorded, it kicked off my overjoy adventure and still remains one of my strongest works to date. The song explores the world of an alcoholic, the damage it causes, and the support family can make in getting that person back on track.
The rest of the tracks on the album are instrumental. I was heavily influenced by the urban, smooth, acid jazz / downbeat music of the late 90's early 2000's, St Germain, Llorca, Jazzanova, and Minus8 to name a few, and there is also more than a little homage paid to the great Miles Davis, whose later works, before his death in 1991, especially the album Tutu, played a part in shaping the overjoy sound. Other influences from that time include The Chemical Brothers and Groove Armada.
All these songs were recorded at home in various locations of Wellington, New Zealand and although some of the later pieces were more professionally mixed and mastered, most are demos at best.
For this I make no apologies. They are what they are. All the works have been remastered for this collection.
I hope you enjoy this collection of work.
released October 16, 2016
Written, recorded and produced by Paul Seccombe. All sounds by Paul Seccombe except Bass Guitar on tracks 1, 2 & 3 by Jeremy Hay. Additional mixing and production on 'Make a stand' by Mark Gittings.
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