Home of the band FREARSON

A throwback with teeth, this FREARSON cut showcases Darren’s commanding range, overdriven guitars, stadium toms and a fist-in-the-air hook built to shout. 

Penned in the 1980s, it pairs classic rock swagger with contemporary polish, subtle digital tuning, dynamics shaping and a widescreen mix that slams without sanding off the grit. 

Lyrically, a satire of political absurdity feels as sharp now as it did then, which is why it remains a surefire live highlight that gets audiences on their feet.

An uptempo, hook-driven cut, “Bagels” traces the hopes and near-misses of Hollywood aspirants, much like the journey of Frearson. 

Sketched on the departures kerb at LAX during a final cigarette before a long-haul, it frames a fleeting moment as a portrait of perseverance. 

The song features vocals from Dublin’s leading synthetic voice to set the tone.

"CIAO BELLA Mozzarella" is anthemic and irresistibly catchy, serving as the stomp-along, clap-along, sing-along soundtrack to your day.. 

This track not only helped launch the band Frearson into global indie attention but was also captured live with multiple contributors - all fueled by beer, wine and a little vodka which bottled a rowdy, communal energy. 

Presented as recorded, without digital enhancements, this lively track is a perfect introduction to the eclectic world of FREARSON music.

A poignant, slow-burning ballad, “If I Ever Dementia” by the band Frearson examines the profound impact of dementia on intimacy and commitment, shining a light on the unique heartbreak faced by long-married couples. 

A hugely emotional song, Darren wears his heart bravely on his sleeve with this FREARSON air.

The country-styled vocals are sculpted with precise digital processing, reflecting the band's distinctive sound.

Powered by a stomping beat and a chorus built to shout, "Gotta Be a War On Somewhere" delivers the band Frearson’s signature mix of wit and bite. 

The song calls out America’s habit of placing itself above the rest; where a domestic league is crowned the ‘World Series’ and far-off conflicts are treated like home turf. 

A protest anthem you can holler! 

"The World Turns" is a haunting, dramatic track from the band Frearson that surveys a world straining under social turmoil. 

Brooding and immersive, "The World Turns" looks unflinchingly at a world buckling under social pressures. 

Darren's lyric is lean and unsparing, while Charlotte Perkins, an occasional Frearson collaborator, delivers a powerhouse lead that anchors the song. 

An original Frearson classic dating to the 1980s, "Tremble" was recorded in London on a bleak Saturday morning in the early-mid 1980's. 

A measured, haunting kick drum pulses through the track, building a tense aura that underscores lyrics about a world in decline, with themes that resonate even more today.

This is as recorded in 1984 with "Hodge The Bodge" at the desk.

With a festive-sounding title and a sober heart, 'I Can’t Believe It’s Nearly Christmas' is a classic Frearson cut that has found success in some of the most unlikely places around the world. 

The song tallies the goals that slipped by during the year and intentions that were left in draft... 

It’s a tender year-end meditation that wonders whether the coming year will bring change or more of the same. 

"Too Many People Don't Grow Old"

Prompted by reports of high suicide rates among men in their thirties, tragically some young fathers, "Too Many People" channels grief into quiet resolve. 

Written by Darren and recorded in Queensland, the track’s restrained arrangement supports a carefully engineered vocal: transparent digital tuning and dynamics shaping that lifts clarity without sanding off the feeling.

Originally cut in a Sydney studio in the late 1990's, this 1980s composition by Frearson deliberately echoes Irish folk while turning a critical eye on the British Army’s deployment of very young soldiers to Belfast amid the Troubles.

The latest version has been remixed and digitally enhanced to correct the original’s speed and tuning issues, preserving its raw emotion while sharpening the performance. 

This version stands its ground even with the "Troubles" now officially over.

Darren is at full tilt with this sly conversion story, tracing the moment country music hits and nothing sounds the same again. 

The lyric is peppered with Easter-egg references to all-time classics while the lead vocal is deliberately sculpted: subtle digital tuning and careful dynamics shaping create a warm, radio-ready Southern timbre without sacrificing character. 

The result is a smart, sing-along earworm that tips its hat to tradition and still feels brand new.

Tracked on a bleak Saturday morning in a London studio, 'The Terrorist' by Frearson is Darren’s interrogation set to music. 

This unflinching series of questions targets those who carry out acts of terror, including the chilling refrain: Does your mum know what you do, and I wonder if she's proud of you? 

A military-style snare summons the claustrophobia of the battlefield, while the backing vocal rises as a plea for innocent children.

Written in the 1980s and long a fixture of Darren’s live shows, ‘So Tired’ was originally recorded in Luton, England. 

This new edition preserves the song’s vintage feel while bringing it up to date: remastered for clarity, re-timed to lock the groove, and remixed for a wider, more dynamic sound. The result is a modern classic that still wears its ’80s heart on its sleeve.

Captured impromptu in a West London post-production suite after a too-long lunch, ‘The Limit’ bottles a moment. 

Darren freestyled much of the lyric and the hook landed out of nowhere, while studio co-owner Paul D. slid onto the keys and the tape rolled. The original has been sympathetically restored, tightened timing, subtle tuning and dynamics shaped so the first-take electricity stays intact. 

It’s a postcard from the young and fearless, when anything felt possible.

Named for the razor-thin line addicts tread, ‘Walk the Knife’ is a dramatic meditation on heroin (Harry) and the grief it leaves behind. 

The arrangement stays spare and deliberate: heartbeat kick, low guitars, room for the words to breathe. 

At the centre is Charlotte Perkins, whose lead vocal is restrained, human, and unsparing, anchoring the song without sensationalising the subject and honouring families and friends who’ve lost someone to overdose.

Written about the regulars at the Waverley Sports & Social Club in St Albans, England, this true end-of-the-night closer captures that universal ritual of last orders, arms-around-shoulders choruses, a stomping groove and wry nods to ‘one more’ before heading home.

Sympathetically shaped with subtle digital tuning and dynamics shaping to widen the crowd vocals and tighten the pocket, delivering a modern, radio-ready sheen while preserving the live, last-orders glow.

An obscure Song - its beginnings are a mystery even to Darren. 

Framed by a deliberately American inflection, the lyric follows a man in a near-future world, so dependent on his robot that it becomes his only source of affection. 

The production leans into that tension: drum-machine pulses, synth pads and digitally shaped vocals (light tuning, formant shifts, vocoder harmonies) that feel human and not-quite-human at once. 

A sci-fi torch song about love, need and whether the machine loves him back.

Another deep-cut from the FREARSON vault, ‘Insufficient Funds’ was sparked by the everyday indignity of a declined card. 

Originally tracked in St Albans, England, Darren again leans into a purposefully false American accent to inhabit the voice of an automated teller: dry, unyielding and weirdly comic. 

This release restores the original with modern polish: noise reduced, timing tightened, and tuning refined, while preserving the DIY grit. The result is a taut, wry slice of consumer-era satire.