hey! i'm biddy fox. i live in upstate ny. any pronouns are fine by me. i like the color pink and making music!
i write and play all sorts of music. i sing, i use apple's Logic Pro, and i'm a multi-instrumentalist, though the instrument i'm probably best at is the bass. i listen to and compose all types of music, from electronic to rock to highly experimental stuff.
i've so far released five albums on streaming services, with one more coming soon. my latest is "everybody relax," which, if you want to listen to an album of mine, i'd recommend you check out. also, on my bandcamp, there are quite a few minor odds and ends to listen to.
i have put some of my work here for yr perusal:
apologies for the immodesty but this is my favorite of my own pieces so far. it takes the form of a long crescendo, featuring slowly expanding layers of guitar, piano and acoustic drums. soon it explodes into a bout of screaming emotion before pulling back into quiet, doomy slowness for the B-section, which changes time signature from 4/4 to a slow 12/8. the lyrics are metaphorical and obscure, influenced by cyberpunk, referring to the inner turmoil of an artificial human.
this one is particularly electronic-oriented. the idea of this one is that it's kind of rhythmically/timbrally unbalanced, switching between various incomplete electronic ensembles and choppy rhythmic patterns before all coalescing for the coda, the only part with a proper danceable backbeat, in which a primitive electronic organ sound enters the mix to both tie together and deliberately contrast the otherwise hypermodern synthesis of the rest of the piece. all sections are tied together by heavy drums and bubble-like percussion.
this piece switches through a lot of different sounds very quickly. this was inspired by the "film editing" production techniques of brian wilson. my intent was to take the listener on an aural roadtrip over the span of two minutes. thus, i used genre as a tool, switching between genres repeatedly without shifting key, tempo or rhythmic feel, taking the listener out of their element rapidly but not disorientingly.
i'm very proud of the lyrics and vocals on this, because they're actually about something in particular, which i hate to admit i usually don't do with my lyrics. they're sort of an intentionally cut-up, out of order short story about how sometimes for very lonely people the idea that someone actually could like them for any reason, even a bad one, makes it so that they can't bring themselves to say "no." for instance, in the first verse:
from the inane that makes you go "oh well thats cute"
pigeons on the street corner once domestic now abandoned like a-
and the worst fuckin' part is that you really meant it
-beer can, once we loved them, but a shaking fate began to knit
this piece is heavily influenced by early trance music as well as modern hyperpop such as A.G. Cook. there's this specific synthesizer sound called a "supersaw," which is where you take a simple sawtooth wave, and complexify the timbre by multiplying it several times, with each iteration being slightly out of tune with the rest, evoking the sound of a string ensemble all playing the same pitch with different intonations. cook uses it constantly and i wanted to see how i could use it in an interesting way. so i gave it some huge extended jazz chords and went wild. one of my absolute favorite things about this song is that there's a bit near the end where it modulates a whole-step up but the vocal sample doesn't so you end up with this delightfully polytonal harmony that should be dissonant but manages not to be. it sounds really cool to write a melody in the key a whole step over the root if youre in major key.
this also uses my favorite type of drum sound ever, cut up drum breaks. best-known for being a hallmark of drum and bass, jungle, and also video game soundtracks for some reason. you can make it very syncopated but also very very fast and intense.
i adore house music. there is just something about that pounding insistent beat combined with the gorgeous jazzy soul harmony so many house artists use. not to mention the piano sound! it's unbelievable how good you can make a really cruddy digital piano sound with some reverb and good chords. the first... half? of this is me dipping into house. it's sort of a loving pastiche, like ween with 70s prog rock on "the mollusk" or 100 gecs with 2000s emo-pop.
then at about 3:16 it transitions into a quarter-time, nearly choral piece, polytonally between the key of C and the key of F. (chords: Fmaj7♭5, Em9, Gsus2maj7, Am7/G, then B♭maj7♭5, D7sus4/C, E7sus4 and Cmaj7/9.) theres also the crescendoing percussion, which i am extremely proud of, because its like seven layers, including me tapping on my knees and my desk. if youll notice, when the acoustic guitar comes in, it all sort of rolls back. i love subtle dynamics like that, and i tried my best to do something like that. the two sections are tied together by a little harmonica thing at the beginning, during the transition, and at the end.
if you haven't figured it out yet, there is absolutely nothing i love more than songs that radically change sound and develop, and this particular one is no exception at all.