The genre employs the use of electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means (electroacoustic music), and that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, hammers, and so on, and electric elements, such as magnetic pickups, power amplifiers, and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar, which are typically made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms, and are such as the theremin, synthesizer, and computer.
– Wikipedia: The Free Encyclopedia
For most artists, songs and albums are like snapshots of periods of time and their lives at those moments. Creating and expressing yourself can be both a healing and a learning experience – to know more about yourself and the world around you.
Last year I went through the worst and messiest breakup ever. I saw things I thought I would never see. I got to witness the ugliest part of human nature, and it was truly heartbreaking – and the ultimate test in life.
But I survived.
And I decided to express all those feelings through songs.
This is the story behind every track on my latest album, “メタポップ (Metapop).”
Being a self-taught guitarist and drummer, my journey into music production started back in 2014 when I was living in Borneo, Malaysia. I was very lucky that one of my teachers, a music producer himself, showed me how to do it. Traveling around Asia, hearing each place’s tune greatly influenced the vibe of my latest album ‘Silent Scream’ which is a collection of memories from there.
We’re all born incomplete and aspire for wholeness.
Thrown into this world at breakneck speeds, immediately socialized by our parents and guardians, who we trust as gods with our childish, wonder-filled minds. Once, we all believed our guardians and teachers and elders knew everything and could be trusted completely.
Alas, they were all once chucked into this world too, raised up by previous generations that may have often convinced themselves that they knew what life was all about. But they didn’t. No one did.
Songwriters and composers, lend me your ears/eyes/brains for 20 minutes here, this is IMPORTANT and critically timely. And it affects writers globally, if your music is streamed in the US. Please take time to read this and research a bit.
For me making music has always been about finding hidden lumps of pain, lighting fire to them and watching them disperse into the ether…
WEIGHTLESS/SINKING is the sonic representation of one of the most confusing periods of my life: I was simultaneously getting to grips with how much I had suffered from / attempted to forget the fact that one of my parents is a double cancer survivor, helping my family move out of my childhood home and trying to find my place in the mind-boggling metropolis that is London. I thought that the paradox of feeling like I was weightless yet at the same time sinking perfectly described the emotional soup I was in.
(I’m) a sparrow’s feather
on a lake: weightless/sinking
I think, at heart, I was always a musician. I would always have a tune in my head and would spend my free time messing with an instrument or audio software. My heroes where rock stars. However, as I grew older, I felt pressure on myself – from both myself and from others – to fit into a certain expectation.
I wanted to live up to those expectations, so music became secondary. I pursued a degree in engineering to live up to those expectations, but I never felt like I fit in. I continued my musical development after classes as an outlet, but it wasn’t enough. Upon graduating, I realized that there was a difference between who I was trying to be and who I actually was, so I began a musical journey of finding myself.
At the time of writing this I am 14 years old, a freshman in high school, and chock-full of angst. I write music to express how I feel— so basically just to bitch to the universe about whatever shit is happening in my life — however, I take it seriously and put a lot of effort into what I make because it makes me happy.
In this post, I will go through each of the songs on my debut album, “Going Nowhere”, and explore the backstories to each of them.
Devin Tait grew up on a farm in rural northwestern Kansas to a family who had been involved in agriculture for generations. So how did he end up as a synthpop musician based in West Hollywood, California?
The Artist writes his best song for seven years, suffers mental breakdowns, heartbreaks, crazy life situations, misunderstandings, self-doubt, rehabs, and other things that people might encounter in 7 long years. The song is finally ready. He records it. It takes a week. He releases it. Nobody buys it.
In the meantime, The Kid makes a beat on his iPhone; it takes him 3 minutes. He drops it. Someone buys it for $50, to rap about „bitches” over the mindless loop. The Kid buys more chewing gum.