"Fate's Accomplice" is not a band. It's some middle-aged guy (me), with some recording gear and an affection for a wide variety of music, from jazz, rock and pop to electronica, to metal, to the hard stuff - progressive rock and metal - but without the chops/theory/discipline/dedication to play for money. So if you're here, it's probably because you know me. If not, I'm Dave Wesner. Nice to meet you. If you have comments, criticism, suggestions, etc., don't hesitate to write me an email (remove the words "DELETE THIS" from the address).
To download an .mp3 of a song, right-click the title (or version name) and "save as." To go straight to the music without all my comments and musing and blahblahblah (and alternate versions), use the player below.
In addition to writing my own music, from time to time, I have set out to dissect other people's music by reproducing it as closely as I could. Without vocals, these have turned out to be pretty passable (IMO) backing tracks for singing karaoke. I claim no copyright on these, and give the original artists full credit for everything. The good stuff is them. Any bad stuff is all me.
I adore this song - it's not a hit in any sense, but it should be. I firmly believe it is the single-most fun song to sing in the history of songs. I searched all over for a karaoke version I could sing with, and, coming up emptyhanded, I finally decided to make my own. Guitar-free version included, for you play-and-sing types.
Here's the lyric video, in case you actually know the song:
When I got my Korg Trinity workstation in 1997, I set out to learn my way around it by reconstructing a song I liked to sing. The short straw was drawn by this, one of my favorite songs from my childhood. I'm sure there are other karaoke versions out there, but, well, here's this one.
After I did My Life, I still had a hankerin' to cover a song, so I picked this Styx tune. I didn't like Paradise Theater when it came out, but in hindsight, it's a great album, so to atone for not getting it right away, here's my tribute to it. I did this in about 1997, then in 2014, I added real guitar instead of the fake stuff from the Trinity (as well as, I'm told, an excess of compression).
If you're blanking on the lyrics, there's a video:
Having made the leap to using VST instruments in my workstation software (rather than outboard keyboards and drum machines), I took the next logical step and dove into PC-based guitar and bass amp sims, too. I wrote this to put a variety of different tones from Guitar Rig 3 through their paces.
I wrote this in the late '80s, in my cocksure youth, and recorded a version with my friend and keyboard player Rob See, who added a Minimoog bass part that defined the piece, and which I haven't fully managed to capture here. The song is about self-determination; the concept that yeah, fate happens, but we still have a lot of control over our lives. Thoughts?
This Time ApartLyrics Electro-pop-reggae / acoustic pop-reggae
PC-based drums and synths, Acoustic Guitar, Classical Guitar, Bass, Vocals
After my wife told me in late 2008 that she wanted a divorce, an online friendship turned into a long-distance romance. She was in Canada, and we planned to meet in person that winter. This song is about that anticipation. Maybe someday I'll write a song about the end of that romance, but the meeting itself lived up to the song, and will always be among my happiest memories. We listened to the song a lot that weekend, and she asked me to do an "unplugged" version. I couldn't make it work with just me strumming a guitar, so I did it as though a band were playing a live show with acoustic instruments; pianos in place of synths, etc. I'm pretty happy with how it turned out, especially for being only the second song I did with PC-based drums and keyboards.
In the fall of 2009, I could resist it no longer; I had to bite the bullet and make the transition to PC-based sound creation - not just recording into the PC like I'd been doing for years, but actually creating the sounds - drums and synths - in the computer. Rather than trying this new frontier on a "serious" song that really meant something to me, I set out to create a demo-for-demo's-sake. It ended up heavier than I'd intended, but I did manage to showcase a number of virtual synths, and get a pretty satisfying (to me) drum track down.
This is my most "popular" song (if that word applies) and probably the closest a song of mine has ever come to the end product matching the idea I had in the first place. I wrote just what I'd set out to write: a song about the fact that, the more happiness I had in my life, the more it made me care how the world was being run (or ruined), so the happier I was, the angrier I got. I also wanted to write something more stripped-down and raw - more angry - than I'd ever done. Not counting the funk section that sort of descends from nowhere, I pretty well accomplished that, too. My friend Dave Ayala was kind enough to help out on vocals again, and between his take and mine, I don't even feel compelled to include a non-vocal version.
In 2005, I became dissatisfied with my guitar tone, and went looking for solutions. I wound up with a SansAmp PSA-1 guitar preamp, and, to welcome it into my studio, and give it a shakedown that would let me explore its capabilities, I decided to write it a demo song.
OK, here's the premise: German powermetal band (or True Metal - whichever is more swaggering mit dem power of metal) is in the studio, stuck for a song idea. One of them is flipping through some sheet music and finds - ach, du lieber! A song with the PERFECT set of True Metal lyrics! A song of indomitability; of iron-clad will and refusal to back down in the face of adversity. The Teutons arrange the tune they find on the page for maximum True Metal impact, creating this anthemic, sword-swinging battle cry (which some Americans of a certain age [say, mine] will recognize from elsewhere...).
This one's a little hard to explain. I'm on a few progressive metal e-mail lists, where some people post under made-up identities. One such person posts as "The Kurgan" (I'm convinced it's a female, but the persona is male). (S)He challenged me to write a song called "The Kurgan," and to include at least some death-metal grunty vocals. Never one to shrink from a challenge, however silly, I put this together during the fall and winter of 2004. It's abstract, heavy, fun to play, and probably a bit better than it has any conceivable right to be (at least The Kurgan liked it...).
This song had me plugging away from the fall of 2001 until I finally finished it in the spring of 2003. My friend Dave Ayala helped out on vocals, for which you'll be grateful. Heavy in (several) spots, varied, complex, LONG (over 9 minutes) - everything I've always wanted to write. And it only took me a year and a half! The lyrics are set among the days preceding 9-11. I hope that doesn't come off as pretentious - I had just gotten the idea for the main riff of the song that weekend. I recorded my first notes of it on 9/8/01, and the opening time signature is 9/8. I just decided to tell a story starting on the Saturday before the towers fell. I hope to re-record at least the vocals soon, if not the whole song, though I must say I don't love it the way I did when I wrote it. If you are at all into progressive music, I'd love to know what you think: Send E-Mail.
I worked on this song for almost the entirety of 2000, and made this, my first MP3 of it, on December 31. I guess I'd call it progressive metal - it has heaviness, odd time signatures and keyboards. I'd like to write some lyrics - I left room for some, but to this day I still have no idea what it's about. Any ideas? Drop me a line!
Written early '90s, based on chords written for a song by my friend Rob See in the late '80s, and re-recorded in about 2000. Vocals are by my friend Paul Lackey, whom I met on the Epigram For The Last Straw Mailing List. He did a great job - I was never happy with any of my vocals for it (I'd do it much better now, though). Musically it's progressive metal for the most part. Lyrically, well, let's call it an allegory.
This is one of my older prog-metal songs, written in about 1992, then re-recorded in the late '90s to take advantage of some much-better equipment I'd acquired. The performances aren't as good as the original, but the sound is okay. the lyrics are based on one of my brother-in-law's favorite phrases: "Just because you're paranoid doesn't mean they're not out to get you."
This is definitely not metal - it's an attempt at sounding like I understand jazz. I tried re-recording it on that new, better equipment now at my disposal, 'cause I really like the song, but I got little hung up on the horn arrangements. Seems you actually have to know what you're doing to arrange a horn section properly. Who knew? This is an older recording, then, and for some reason the unsophisticated horns of my old Kawai K-1 II seem to work just fine.
I wrote this to submit to the Trinity Haven website when the Korg Trinity Mailing List was an active and beautiful thing (R.I.P., KTML). The 'Haven called it "a nice mix of techno and jazz influences." That works for me.
I've long had the practice of doing songs in genres I didn't really listen to, for the purpose of learning what I could from them (and, in some cases, to prove to myself that some songs really are so simple you could write one in an hour). Here is my version of a "techno" song (the title is a truncation of the original title, "Attempted Techno"). It probably sounds like techno done by someone who knows nothing about techno, which I suppose is only fair. In spite of myself, I rather like it.
I used to co-own a used video game store. My business partner was an amateur computer animator, so we got the idea that we'd make these in-store demo videos of the latest games. He'd do the graphics, I'd do the music. I did my part, and he - well, I don't talk much about him. This is electronic music, groovy, kinda cool - at least I think so. The name derives from the Ensoniq ESQ1's song naming conventions. A new song is automatically named "SONG01" by default. I wanted to make a long song, so as a placeholder title, I just replaced the "S" with an "L." Eventually the "1" got dropped, and here we are.
Ensoniq ESQ-1, Kawai K-1 II, Alesis HR-16, Guitar, Bass
First of all, that's a "schwa" symbol at the end of the song name - I just used a lower-case "9" 'cause I couldn't find ascii code for the real schwa. It's pronounced "Ob-roo-hod-ld-luh." It means, "that proggy, not-too-heavy-not-too-wimpy instrumental I wrote in 1994 and didn't convert to digital form for a long time." It's one of my favorite of my songs, and is a complete blast to play.
Near the end of college, I took a music class with my girlfriend. It was fun for me, but really hard for her, so I wrote her this little song of encouragement. Recently revived from a 4-track cassette master, it seems to have cleaned up just fine. As for the song itself, it's fun to play, and I like it a lot.
Ensoniq ESQ-1, Kawai K-1 II, Alesis HR-16, Guitar, Bass, Vocals
I wrote and recorded this in about 1993, and, 11 years later, brought the 4 tracks off of cassette into the computer for a (partially-successful) clean-up. It's another one of my "can't we all just get along?" songs, this time questioning the reluctance of various groups to join society, instead of just existing within it. Whatever. So I was an idealist in 1993. More importantly, it's sort of a middle-of-the-road "rock" song with an interesting keyboard riff, a nice solo, and a horrible drum mix, un-fixable for a number of really boring reasons. There's only a non-vocal mix for now (with keyboard holding down the vocal melody) - a vocal mix will follow once I (a) clean up my own awful vocals, or (b) hoodwink some well-meaning individual into providing something better.
Ensoniq ESQ-1, Kawai K-1 II, Alesis HR-16, Guitar, Bass, Vocals
Another in my series of early '90s race-relations songs. This one tried to combine a "white" style (metal) with a "black" style (rap), presaging by a good bit the "rap-metal" movement I didn't really appreciate until recently. I'd love to re-record it, because it's a nitro-charged BLAST to play). It's also my favorite set of my lyrics (complete with "hidden" homages to a few of my favorite bands, just for the hell of it).
I wrote this during the 1992 Presidential campaign. It's kinda heavy and a little proggy, but a bit simpler than I prefer nowadays. A friend of mine wanted to come to town and do vocals for it a coupla summers ago, so I dusted it off and re-recorded it on my way-better-than-I-had-in-1992 gear. The result sounds *WAY* better to these ears than the original, and will fare even better one day when my friend and I finally hook up to save it from my vocals (this version has none - I can't bring myself to record any).
Back in '95, I wrote a really sappy love song to perform at my wedding reception. I played it for my fiancee, who stared blankly for a minute and finally concluded, "it sounds like the theme from Doogie Howser, M.D." Fine, I thought. You don't want a sappy love song? I'll write a dirty, exploitative sex song. A few months later I had "Surrender." It was always one of her favorite of my songs. A friend of mine said he'd like to take a shot at the vocals, so I dusted it off, and re-recorded it. My friend laid down some incredible vocals at his home in Las Vegas, NV, and sent them to me on CD. Unfortunately, I just realized I don't have the vocal version on the server, or here at work where I'm writing this, so for now, you're stuck with the non-vocal version.
Not long after getting the Trinity, I found my well of ideas drying up. I thought it might help to do a little creativity exercise. I'd come up with a song idea - any idea, good or not, for each day of a week. Day One turned into "Four Banger" (original title: "???"), and this was, I believe, Day Three. It's similar to "Four-Banger" in many ways - the jazz influence, the almost-danceable beat, but I could never really make it go much of anywhere. Years later, I dusted it off and brought it to a close, but I can't bring myself to call it "finished." It's short, it's listenable - it's probably worth the brief download.
I still can't make up my mind about this one. It could only honestly be called "rap-metal," and it dates to the early years of "nu-metal" rappy stuff (it's circa 1997). It practically wrote itself up to the point where it abruptly ends, and try as I might (which is, admittedly, not very hard), I can't seem to take it anywhere from there. Another problem is that this song uses a detuned guitar, so any time I want to work on it, I have to spend about a half a day tuning and retuning my guitar, and adjusting everything else that that entails. Maybe one day I'll get back around to it, but don't hold your breath. For now, here it is, as is, and as it likely will ever be.