Experimentation with taking quiet sounds and compressing the hell out of them. Drum fills courtesy of Chris Thomas.

The album takes a turn towards Electro.

This is the centrepiece of the album; my self-confessed preferred track to RPM HQ. Powerful vocals by Jen Gibbons and heavy beats supplied by Chris Thomas. The drum track was heavily overdriven to crispen it up and the kick was given a lot of…

Paper Girls is one of those tracks which I wrote based on my experiences that I hope others can relate to in their own way. Soft, breathy vocals courtesy of Anezka Piska.

The album kicks off with one of the gritter, darker songs. The amazing, gravely voice you hear is that of Linda Harrison.

I've gone more acoustic for this piece with bass and guitars courtesy of Jaz Arwand and the lovely, airy sound of Jess Spencer's voice. The song is about empathy or lack thereof.

We move miles away from Bristol trip-hop and take a trip to Paris. This Daft Punk-inspire piece really allowed me to lighten up a bit during the lonely production stages.

Anezka Piska on vocals.

Self-explanatory. Sorry if it breaks your speakers :)

The obligatory ambient piece. I really wanted to experiment with balancing the bass and treble; it seems to have worked quite well. Bonus marks if you can identify any of the samples.

This track is the introduction to the main bulk of the album. It says "WELCOME TO RPM '09" and doesn't let you go until you've gotten to "Dancing With The Midnight Waves", the penultimate track.

A bit less percussion and a bit more rhythm was the idea for this. I say that, but the track had a fully formed drum track alongside it until right at the last when I discarded it in a fit of creative temperament.

I'd be lying if I said this entire track wasn't sparked by the opening audio clip. It really made me think about the ways some people create their own enjoyment. Cool.

One of my darker tracks. This tracks epitomises how RPM felt for me; A progressive struggle where I just got my head down and got stuck in with the thing. In a phrase, this track says to me "Just fucking get on with it."

I would make the 70's sound more like this.

There are too many amazing quotes from this film to not sample them SOMEWHERE in my album. Time after time, the 'yo-yo master' line got me laughing, so I thought I'd pay homage to it.

The scene setter. This was the first track on the album and I've still got mixed feelings about it. Audibly, I like it. Cohesively, it doesn't REALLY fit in... My girlfriend told me "like it needs to represent the rest of the album. It grabs your…

Why this represents 1993 is really quite a mystery to myself. I was 2 years old, so I've no idea why it strikes me as such a dark and mysterious year. I think I managed to get down exactly what I was thinking with this track.

This is the end of the journey. It's time to maybe think and reflect about some of the things we heard and then forget we ever heard them.

Easily my favourite track on the album. This was a real forced number at the start of it's life; I was well behind my song quota (5 finished on the 23rd... time to worry) and I needed to knock something out at least. Something clicked about an…