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 like lots of sorts of music but elements that commonly appeal to me include clean electric guitars, backing vocals, authenticity, eclecticity, lo-fi aesthetics, and high tempos. the music i create spans a lot of genres.
i've so far released five albums on streaming services. 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:
this one is particularly electronic-oriented. its got some complex rhythms in the high end and some weird sounding mallet synths im very proud of. i also think i sing really well on this one. the idea behind this song comes from the fact that i typically don't listen to a lot of popular music? so this was an attempt to make something akin to something that would be on top 40 without actually listening to top 40, more based on what i hear from cars that drive by with the radio really loud and stuff. this is an ancient indie musician tradition - i.e. the smiths dipping into glam-metal for "Shoplifters of the World Unite," or The Cure's "Let's Go To Bed."
oh man this is probably my favorite song ive ever written. it just goes like a million places in two minutes. we start out in this sort of noisy rhythmic drum thing, and then this tapped-out math rock guitar comes in! and then when you have no idea where it's going next it does this emo/pop-punk rhythm guitar... and then there's a stop and there's a chiptune fill! the first minute or so of this song is just my favorite thing ive ever done. i know i'm tooting my own horn a lot here but im just proud of how successful the effect i was going for was. theres also a bit near the end where it turns into weird lo-fi drum and bass that i really like the contrast of. honestly this song is just a bunch of really weird contrasts i like! it was kind of inspired by bohemian rhapsody, which sometimes i feel like had some kind of secondary intent as freddie mercury's resume or something. he just shows off all the things he can do.
i also really like the lyrics/vocals on this, because they're actually about something in particular, which i usually don't do with my lyrics. they're sort of a 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
my brother ej fox helped me out a little with this one (the vocal samples were his idea and the half-time hip hop bridge was also his idea) but the majority of it was me. this one came from listening to the A.G. cook album "7G." there's this specific synthesizer sound called a "supersaw," which is where you take a simple sawtooth wave, and make the timbre a lot more complex by multiplying it several times, with each iteration being slightly out of tune with the rest. A.G. cook uses it constantly and i wanted to see how i could use it in an interesting way. so i gave it some 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 but the vocal sample doesn't so you end up with this delightfully polytonal harmony that i really like. cool music tip: 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 drum sound ever which is "cut up drum breaks," the hallmark of drum and bass 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 this, like, quarter-time, nearly choral piece i wrote. i have to find the chords and ill post them here, but it toggles key between F major and C major, and i used as many tritones as possible. 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.
there is absolutely nothing i love more than songs that majorly change sound and develop, and this particular one is no exception at all.