Lots of things, a little of the time, occasionally sane, often not.

The darkness surrounds me (new lyrics)

I’ve got a ticket that shows me exactly where I’m going
A heart inside these bones that wants to keep on beating
But you know and I know that darling I am slipping
The darkness surrounds me, I cant keep on fighting

I need you to hold me tight
I know i hurt you, but your my only light
Dont let go, I beg you hold on
Please my darling, your my only hope.

I’ve got a handbook that tells me how to live
I know it makes sense, but still I do what I always did
A cycle, endless which is rotten at its core
Pathetic and broken, lying crumbled on the floor.

I need you to hold me tight
I know i hurt you, but your my only light
Dont let go, I beg you hold on
Please my darling your my only hope.

Forgive my sins
But they’re everything I am to you
I cant begin
To tell you how sorry I am
One day maybe
I’ll be able to make it all up to you
I know I’m a crazy
But never think I dont love you



I am the future
I am the past
I am for forever
I will always last
I am the nothing
that seeps inside your soul
I am everything
l make you whole

I am almighty
I am lost
I am freedom
I am the cost
I am the pleasure
that makes you feel cheap
l am the nightmares
l haunt your sleep

I am your bitch
I am your goddess
I am the truth
I make you honest
l am forgiveness
I bring understanding
I am beauty
simple and breathtaking

If ever Someone needed me
Its you

Album review Django Django

Okay,so I’m a little bit behind with this album review what with the album coming out well over a year ago, in fact these fellas have already got a remix album out as well now and are more than likely well on their way with a follow up no doubt. However, the whole point of this blog was to shout out about quality music that I come across and I only came across this a wee while ago.

Well OK it was about four months ago but I’ve been having one of those winters…

So anyway, for those of you even further behind the musical times than me, Django Django are a four piece that formed at Edinburgh College of Art comprised of David Maclean (drums/production) Vincent Neff (vocals and guitars), Tommy Grace (synths) and Jimmy Dixon (bass) who released an eponymous album back in January 2012 and quite simply it’s a stunning, exciting and confident album that has been an ever present on my playlist since I was introduced to it in December that same year.

On the first listen I have to say that my initial thoughts were that this was a band that sounded too derivative. However, even before I had reached the end of the record I realised that there was far more to this band than the vast collection of influences that they wear proudly on their sleeves.

Comparisons to the Beta Band are frequent if a little obvious and a touch lazy (Django’s David is Beta’s John’s brother) but are still certainly are valid although the Django sound is a little more upbeat to my ears. Shades of the Super Furries and the Flaming Lips are also evident but then I found myself noting similarities to much more esoteric sounds like DJ Afrosiac, Jesse Saunders and Arthur Lee.

However, it is the close harmonies that sit across the perfectly crafted pop songs that are so instantly reminiscent of the late 60s psychedelia that the Beech Boys made their own. In fact if Brian Wilson were making music today this is exactly the album I would expect him to have made.

The album has a number of stand out tracks and pretty much kicks straight into the the two big singles “Hail Bop” which is the one tune I have the most difficulty getting out of my head followed quickly by “Default” which is perhaps the best known of the bands singles to date.

“Firewater” sounds like Gomez on a good day, “Waveform” again has a Californian breeziness about it whilst “Zumm Zumm” sounds like it could be the soundtrack to a bonus level of Sonic the Hedgehog.

In fact there is hardly a filler on the album…. Well perhaps “skies over Cairo” is a little weak, but even this has a lovely charm that reminds me that of my first exploration into fruity loops back in the nineties.

With this exceptional debut, Django Django have delivered something far greater than the sum of its widely eclectic parts.

Follow them on twitter here @thedjangos and check them out here

I am the city (new lyrics idea)

I’m the editor of a magazine
and people Iike what I have to say
So I tell them what they Want to hear
and I’ll always keep my job that way.
Money talks,for a price I’ll walk
whichever way you say
I’ll be your bitch although you make me sick
Cos being righteous will never make me rich

I am the city
You made me
I am your pretty
You want to hate me
but I exist
because of you.

I am the scribe of all your sins
the rotten testimony of your lives
A broken mirror of disgust
reflecting your culture built on lies
I belong to you like a favorite whore
Filthy gorgeous, beautifully coarse
kiss me, kick me make me bleed
in my glossy reflection you see your greed

Take me
you know you want to…

I am the city….

New lyrics: So low

So low
Theres too much electricity in my head
voices wishing I was dead
and now my dreams have started to hurt
Dear God lm getting worse
I’m on the precipice
Of my eternal abyss
Cast adrift
the hatred and the pain
of the harpies in my brain
calling out again

Again, again, again

So low, will this war ever end?

King if all men

l am king
of all men
but I am afraid
I am afraid

My intellect soars above you
but I cannot touch you
You exist beyond me.

A fragmented life
I don’t compute

I am  king
of all men
but I am afraid
I am afraid

A brilliance dimmed
A spectre chained
Hidden in plain view

one day I may rise
more likely I’ll  fall
amongst the shadow

I am king
of all men
but I am afraid
I am afraid

I just cannot fight
Without crying

Without dying inside

I am king
of all men
but I am afraid

If I could be king
just for the day
then there’d be no pain

As we’re all the same.

A little bit of insight into the birth of ‘Forgotten Hymns’

Having realised that he hadn’t posted on his shiny new blog since he set it up Sibaroni diligently sat their and tried to type something meaningful and important.

But then he got sucked into browsing the  website and this took up some time. Then some crazy damn fool had decided to remake Dallas and he had to peer into the televisual wonder and madness (just for a peak like). In fact it was a whole evening that had gone by before he had even started tippy tapping away.

So he decided to post up a briefing document from the very earliest days of conception for ‘Forgotten Hymns’ instead because he had just found it on his desktop and it was actually quite an interesting insight.

The following is that very briefing document…..


This document was originally for a producer buddy of mine The 3rd Person. The original idea was that we would work together on a grander sounding production with a cinematic soundscape sitting across the whole album, binding the tracks together. Clashing schedules made it impossible to get beyond ‘a nice thought’ and as I wrote the album the more I felt that a pared down, lo-fi sound was right for the music rather than a lusher warmer sound I originally had in mind – it’s funny how that happens sometimes and the music just takes control of it’s own destiny. 

We have discussed a remix version of the album and incorporating a soundscape into that – so it may still appear but when is a much harder question…

However the following does give an interesting insight into the initial thinking behind ‘Forgotten Hymns’. Perhaps the biggest change from this early outline to the final album is the ommision of the ‘epilogue’ which would have changed the whole mood of the album. 

In the end I felt that it was better to leave the ambiguity in place and give my listeners the respect to be able to draw their own conclusions. 

The Forgotten Hymns of the Failed Revolution:

Notes 28.07.11

With regards to the album track listing is as follows, titles provisional only, (written in brackets refers to lyrics): 

1. Prologue: Raised in Chains (part one) 

2. Raised in Chains (part two) (written) 

3. Night Ghasts (written)

4. Love will light the way (written)  

5. Call to Arms (Possible)

6. The Promise (written) 

7. The People will be free 

8. Love letters

9. Waiting in the trenches. 

10. Battle

11. Take me away

12. Fallen (part one) (written)

13. Fallen (part two) (written)

14: Epilogue: A world to win. 


The concept of the album is to follow the story of one protagonist through a failed revolution. The protagonist (provisionally named Sergei) is not a hero, not a leader but just an ordinary farmer turned soldier. He leaves behind his wife and young son at home to go fight for their freedom but the revolution is crushed and he dies leaving his wife a widow and his son fatherless. However, the Epilogue suggests that this first rebellion was the seed of resonance that grew and ultimately led the people to find their freedom some twenty years later. 

The album is basically split in four parts Oppression, Uprising, Battle, Loss.  


Setting the scene and establishing the state as oppressor. Raised in Chains Part One is to be a spoken word piece (a little like the mid album intermission on 6 by Manson) Raised in Chains (part two) build on this and introduces the Sergei as a young husband and father, frustrated with life he has been born into. Night Ghasts is a punky little piece that highlights the brutality of the state police. Love will light the way is the final song in this section and is words of advice from Father to Son ‘boy you know this life aint easy/but my child you must believe me/trust your heart you’ll be OK/love will always light the way’ the song alludes to the Sergei’s father telling his son to accept their fate and to keep his head down or else life could get worse. However the final part of this song (which is essentially a second song entirely) carries the line ‘the hardest thing in this life/is knowing something wrong/when you can’t make it right’ which repeats but the last time it is sung it shifts to ‘the hardest thing in this world/is watching those you love/when they’ve given up the fight’ bringing in the revolutionary undertone the Sergei (and by inference his entire generation) are beginning to feel. 


The second part of the album focusses on the start of the revolution. The Promise (as you heard from the MySpace) is about Sergei hearing about the uprising and explaining to his wife that he has to go and join the fight. The people will be free is set to be the manifesto of the revolution, a call to arms to rise up against the oppression of the state. I intend for it to be similar stylistically to the communist manifesto. I am toying with the idea of putting a re worked version of my old tune ‘Call to Arms’ at the start of this section but am not sure if I want to include old material on this (or whether it will fit in with the musical tone of the album). However the opening line of  The Promise ‘just heard the news on the radio’ could give an option to bring Call to Arms into things – would really like to have the song in the background (balanced with a bit of white noise to give the feel of a transistor radio)of the opening few bars of The Promise. 


The third part of the album is the battle of the revolution. Love letters does what it says on the tin and is a duet the content being letters Sergei from the front line and his wife at home. Waiting in the trenches is a bluesy lament reflecting the ambience of the front line, anticipation, excitement and fear the key themes. Battle is fairly obvious, the tale of the battle, will be tricky to capture this without it sounding naff (I.e. like a lot of Quadrophinia ‘he’s driving on a bike, he’s driving on a bike, he’s indicating left, he’s turning left… etc’) This is the least complete section at present both musically and lyrically. 


The final part of the album is death of Sergei and the failure of the revolution and Sergei’s death. Take me away is Sergei’s loss of faith in the cause and his being so consumed by pain and despair that he forsakes his belief’s. ‘Take me away/because I don’t want to fight any-more’. Fallen (part one) is a conversation between Sergei and a commander in the revolutionaries’ army. Sergei is dying and he is asking his commander if the battle is won. His commander reveals that all is lost. Part two is deliberately vague and could be read as having a pseudo-religious overtone or of the dictator showing lenience. (Gaddaffi and the way he portrays himself as the father of the state was in my mind when this was written) ‘Come to me my children/Though the bombs are falling/I still here you calling/I’ll protect you’. 

The epilogue is written in the voice of Sergei’s son and is a spoken word piece like the prologue. It references the bloody revolution as sowing the seeds of a more prolonged, democratic uprising which his generation leading to the freedom his generation are now in possession of. To be honest I’m still not sure on this. It kind of feels like the last chapter of Crime and Punishment which was just a happy ending tagged on for the sake of it. 

Download a free sample of  ‘Forgotten Hymns of the Failed Revolution’  here

Where to start…?

Well the beginning is always a good idea so I have been told so I guess I’ll give that a go.

Well to kick this off I suppose you probably want to know a little bit about me (unless you clicked the rather obviously titled ‘Who the hell is Sibaroni?’ tab in the menu at the top)

Well assuming that you haven’t and your diving head first into this post, then a brief summary is as follows:

I am a singer/songwriter who is based in London but originally I hail from the unofficial culture of capital for the world, Cardiff in sunny south Wales – number 11 or so on the National Geographic’s top 50 places to see don’t you know.

Back in the day I played in a few bands on the local scene ‘The Mantles, 3 Random Words and 6 Month Plan being the most prominent of these and I’ll write a bit about each in future posts.

I came to London much like Dick Whittington to seek my fame and fortune and was lucky to study under some  very cool people at the slightly famous London College of Music & Media, including Pip Williams who has a quite ridiculous CV which includes being Diana Ross’ musical director, producing my all time favourite Moody Blues album and erm he produced and played guitar on every single Status Quo album.

Ironically after spending three years learning how to muck around in a expensive studios from the best in the industry the first proper body of work I have ever committed to tape (or it’s modern day equivalent) has a deliberately lo-fi feel to it.

Just to make it clear that is no reflection on Pip’s skills as a teacher, or even my lack of skills as a producer (check the incredibly talented Paddy Macdonald here to see that if I can actually make things sound professional if I want )

I just I likes (sic) a bit of Lo-fi to be honest.

Which brings us kind of up to date (with very little actual information I must confess)

Basically to summarise,

I use to be a tiny bit famous (I was once descibed by The Independent as a pretty boy singer with pin up potential I’ll have you know)

I managed to get away with pissing about in Recording Studios for three years claiming it as an education

And I have a new album out. (Warning shamelss plug alert)

The album is called ‘Forgotten hymns of the failed revolution’ and you can download a free sampler (5 full tracks absolutley gratis) from here