“Here are a few tips and techniques to help you analyze your writing and get you out of the rut:
1. Titles. Keep in mind that you will always need song titles, and anytime you hear a word or phrase that evokes feeling or has a special meaning, write it down. Keep the list on your wall for inspiration.
2. Listen to other artists. Chances are, if you are an aspiring songwriter, you enjoy music. Listen to a wide variety of artists, especially those considered classics. Dissect the music and learn to recognize arranging tricks and song structures, then find out how to work the ones you like into your own music. This is a study, just like studying math or science-the more music you expose yourself to, the quicker you will learn how to apply tips and techniques to your own music.
3. Reverse chord order. Let’s say you’ve created this awesome chord sequence that you are completely in love with-and now you are banging your head against the wall trying to figure out what comes next. Sometimes, reversing the chord order of the sequence you already have and applying it to the next part of your song will work. If that doesn’t prove helpful, try reversing just one section of the chord sequence and repeating it, or doubling the length of time that each cord plays. You can also halve the note values in a chorus to create an illusion of increased tempo.
4. Switch up your instrument. If you prefer writing your songs with a keyboard, try using a guitar, and vice versa. Chords take on such a different resonance with different instruments, and that change can be helpful in formulating a melody. Sometimes it is helpful to write verses at the keyboard and use the guitar for the chorus.
5. Use free association. Free association can help you get started on lyrics when you have a song subject but are struggling with the actual writing. Sitting down at your computer, or with a notebook, and just writing down everything that comes to mind in association with your subject can result in a lot of usable words and phrases.
6. Develop a rhyme scheme. Some songwriters really struggle with rhyming. Many successful songwriters work rhyming into their music because it pleases the listener. Of course, every song doesn’t rhyme, but many hits have rhyming components that really work. If you really can’t develop a rhyme, don’t force it-rhyming too much or just badly will ruin your song and turn listeners off for sure. A rhyming dictionary and thesaurus are very helpful when attempting to develop a rhyme scheme. The rhyming dictionary will help you quickly find rhyming words, and a thesaurus is great for finding synonyms.
7. Hooks. We all know a successful song has to have a hook, but what many people don’t know is that a song should really have several hooks. In addition to your main musical/lyrical hook (which is the high point of the song), secondary hooks will maintain a listener’s attention. Short riffs between lines, catchy cord changes, or a vocal ad-lib are all great examples of secondary hooks.
8. Make your song interesting. There should be enough dynamic and metric interest in your songs to make them peak and subside. If you write a song that maintains one level throughout the whole thing, it’s not going to be interesting. Verses and choruses should differ-if one is short and choppy, the other should use longer, sustained notes.
9. Co-write. If you are really having trouble getting a song completed, try co-writing with another musician that you know. Gaining another artist’s perspective can help you write a unique song.
10. Change the number of chords. Try changing up the number of chords you usually use in your songwriting. If you usually use a lot of different chords, limit yourself to three. If you don’t typically use more than three, try writing a song with six.”
Been getting more and more into this, lately, as every band I’m in is a duo of some sort. And I’m beginning to play live with each project… especially in the next few months.
EHX 45000 with footpedal
laptop running Reaper 5, with footpedal or Launchpad
Akai MPC Live
Each of these options ranges from $400 (laptop+controller) all the way to $1200 for the Akai and Elektron. A bit overkill, many may say.
Leaning toward the RC-300. It can store 3 hours of WAV files internally, and you can easily export from your DAW, to the pedal. Has 100 presets. About 15-20 of them could each store a full song, spread across 3 WAV files (drums, bass, keyboard parts, or extra guitars). That’s about 120 to 150MB per song. I think the total storage is about 2GB, in the pedal. It can also read from SD memory, which is great. Plus, it’s just a killer looper in general. Lots of fun and many uses… not just for a foot-controlled backing track player.
Cons, that pulled me away from all the rest:
Boss RC-505 – no foot use… just hands. Awesome little pedal, but I play guitar a lot, and/or drums or keys live… this wouldn’t be ideal. Great for vocalists and beatboxers, though.
Roland SP-404SX – decent, and used by a lot of pros. I could live without those unbalanced RCA outputs, though (are you kidding, Roland? In 2017?) Can store 120 samples per SD card (and reads FAST– loads everything quickly upon startup)… each sample can be LONG, from what I understand)… but again… the outputs?!
Roland SPD-SX – can only be used with drumsticks, basically. Nice bit of gear… 4GB of ram. Can store a ton and has a lot of fun options. But… you’re stuck holding sticks. However, Jack Garratt kicks ass with his, while playing 100 other things (see below)
EHX 45000 with footpedal – read that it’s prone to errors and bugs. Nice design, though.
laptop running Reaper 5, with footpedal or Launchpad – everyone’s usually against the use of a laptop, live… but certainly, this is the cheapest option. The con is it takes a lot of configuring, to do what you want it to (such as with Reaper 5, and a MIDI footpedal).
Akai MPC Live – too expensive, and the hardware OS/software is still “in beta”… and a LOT of crashes/bugs. For $1200? No thanks. Fix your bugs entirely, and we’ll talk.
Elektron Octatrack – Same price as above…. much-loved. I don’t know much about it, but it is powerful as hell. Doesn’t seem to offer a lot of sample storage, though.
What I did in Beauty’s Confusion (please follow us on Spotify!) over 10 years ago is the basic way most people do it:
click-track panned hard left
music mixed in mono, hard right (if you want, you can put music at a lower volume, along with the click, so you don’t just get bombarded with a click in your ear while you play).
I used to use a shock-proof CD player for our tracks (at first a Numark CDN88, I think)… and then I upgraded to a Pioneer CDJ-800. And then eventually, I just wound up using a Dell laptop for the tracks. The audio interface only had a cable from the RIGHT output, into a direct box, into the mains. My earbuds and/or headphones plugged into the headphone output of the interface, so I got the click in the left-ear only, and the music in both. I played drums mostly, or did keys/guitar, depending on the song. This is the standard way to do backing tracks, but… you’re stuck with exactly that track… so you better start when you need to, and not come in late with vocals, or early… the backing track is unforgiving (a way to combat this is to use something like Ableton Live… where you can have different “Scenes” to trigger variations of verses/choruses/jam parts, etc).
I did this same backing track setup, also in an indie/electronic trio I was in, in 2007. We made tracks in FL Studio, and used that same workhorse Dell laptop live, running Ableton. Singer played bass, guitarist played guitar, and I drummed, sang vocal harmony, and triggered the tracks.
It’s relatively easy to prepare tracks for live use, if you’re using a laptop, especially if you spread the tracks to more than one– drums, bass, keys, extra guitars… it’s easy to mix live after a rehearsal with a PA system… you can see what’s too loud, and what’s not loud enough, and take notes, or fix on the go using automation. However, if you’re making tracks for a foot pedal or hardware unit (one simple mono mix)… you’ll need a lot of trial and error, and you’ll need to get the mixes PERFECT… again, a PA system or a friend’s in addition to yours, would help nail the balance of the tracks, against the live instruments and vocals.
The crappy thing about preparing these tracks for the hardware stuff such as the Roland or Boss stuff is that the WAVs need to be completely “blank” and devoid of metadata. Otherwise you’ll run into errors such as “unsupported format!” when you try to import them into the SDP-SX, SP-404SX, or RC-300.
I hate all this tech shit… and there isn’t much information on google about it.. so I wanted to try and help anyone, if I could… it’s partially for me, to help remember what I need to buy and do, but mostly for you… to help aide you in your quest for live performance as a duo or solo artist. Not all of us are blessed with musician friends that have the time and talent to do what we need them to do, at moment’s notice… haha.
More to come! Hope this helps some of you so far…
So, I’m always on the hunt for gear that makes my job as a musician/music producer and songwriter a lot easier/cheaper. Laptops are essential, these days. And/or hardware samplers… but, which is better?
For live use… a lot of people recommend using hardware samplers… because there’s basically like zero chance of a crash. Yes, but…
If you take care of your laptop, how often do you actually find it crashing or slowed down? Zero percent of the time? That’s kind of me, in a nutshell. If you know what you’re doing… it’s about as reliable (if not more than) a hardware sampler. I don’t have pop-up ads on my shit, and the audio playback is precise… because I tweak it, and I monitor my internet activity… and/or I don’t go on the web at all, on a music-making laptop.
Let’s say you’re in a duo (basically all bands I’m in are duos)… and, say you need backing tracks to fill out your sound. There’s only two people… playing two instruments and singing… so… you might need something to play a beat, or layered background/countermelody vocals, and/or keyboard parts, or basslines…. that’s where a laptop or hardware sampler come in. Most duos are often either two guitars/singing… or a guitar and a piano, and singing. Or, a mix of all (such as duos like Shovels & Rope). But most often, it’s either two guitars and singing, or guitar/singer, and pianist/singer.
First Aid Kit (guitar/vocals, and keyboards/vocals)
Angus and Julia Stone (guitar vocals, and guitar/vocals)
Wye Oak (bass/guitar/vocals, and drums/keys/computer)
Lemolo (keys/guitar/vocals, and drummer/backing track player)
Beach House (keys/vocals/drum machine, guitar/vocals)
Goodbye Heart (keys/vocals, guitar/drum machine/vocals)
Ok… so, here are your current choices for a hardware sampler:
Korg Electribe Sampler ($400 street)
Roland SPD-SX ($800 street)
Roland SP-404SX ($500 street)
used Akai MPC1000 ($varies)
used Akai MPC500 (often less than $300 used)
Akai MPX8 or MPX16 ($100 or $200)
Pioneer/Dave Smith Toreiz SP-16 ($1500 street)
Now, here’s the problem with hardware samplers: STORAGE (or lack thereof!)
Electribe? 270 seconds, in mono (that’s about 5 minutes.. and only 5 minutes of samples…. without having to load anything. Sure, you can use a 32GB SD card… but that’s only for loading samples into RAM… which, you only have 5 minutes of storage. Only 5 minutes.
Roland SPD-SX – Price is ridiculous. But, you get 4GB of storage. That’s 720 minutes, of mono samples. Yes, you read that right. 12 hours. Now we’re talking… but… this device is useless, unless you’re a drummer. What if you’re a vocalist who just wants to lightly push a button, on a small device on a stand (I’ve seen a lot of vocalists do this.. in professional bands)? Not everyone wants to hold a drumstick the entire set…
Roland SP-404SX – A little pricey…. 2GB of storage. 360 minutes, in mono. Six hours. Possibly more, with an SD card, but I think the RAM (the internal memory) is 2GB. Not bad… not bad at all. Haven’t messed with this, so I don’t know the full capability… but, it seems like a good value… I’ve seen pro bands use this live, such as the all-woman Brooklyn indie band Teen.
Akai MPCs-– not a lot of storage (the MPC1000 was the last unit sold new until 2009… until recently when Akai has announced new (and VERY pricey) hardware samplers……. . Upgrading the ram on one of these older units to 128MB (the maximum) allows about 24 and a half minutes of mono samples. Not bad. If it’s a stereo WAV file that’s 5 minutes long (about 50MB), you can store about 4 of them in an MPC with its RAM maxed out. But that’s only 4 songs. Your set is probably 8-10 songs. Sure, you can put together a sequence with smaller samples… but that’s a lot of work. But, the MPC is tried and true… and many people use them live… still. I find the workflow to be ridiculously slow and counter-intuitive (always have, with MPCs).
Akai MPX8 and MPX16. SLOW LOADING TIMES. Bug-ridden. Crappy menus. 60MB of total storage (yeah, that’s decent– enough to fit one 5-minute stereo WAV file as a backing track, but sadly… I think each pad on each of these units can only store like a 4MB sample, per pad)…. The MPX16 is decent… but, I read it’s bug-ridden.
Pioneer/Dave Smith Toraiz SP16. Find the need and fill it? Yeah. They have. But at what cost? 8GB of flash memory, and 256MB for audio sample memory… wait.. what? I’m a little confused about that. Also, each sample can only be 32 seconds or less, long… so, forget about stereo WAV backing tracks…. A beautiful device, for sure… but… $1500? Whoa.
I can get an 8GB Dell Precision laptop (quad-core i7) for only $250 used on ebay (full HD display at 1920×1080 resolution)… swap out the HD for a solid-state hard drive (525GB Crucial SSD is only $150 new)… now we’re at $400. Upgrading the RAM to 16GB from 8 is a $50 investment. $450 total, now. Pick up a used Novation Launchpad or Behringer TC64 (just like a Launchpad) for about $50. Total cost: $550. Or, if you want to trigger the samples with your feet… a Behringer FCB1010 ($150 new) or a used Line6 FBV Shortboard MKII ($125 used).
A Launchpad comes with Ableton Live Lite 9, which is powerful as hell, and free. And you can trigger ANY samples you want… size is only limited by your hard drive. Ableton will work fine on a 4GB laptop, but even better on a 16GB one.
Or, you can go the route I’m figuring out— Reaper 5, with “Playtime” (a virtual instrument designed by a hardcore Reaper fanatic, which works exactly like Ableton’s “Session View”) OR…. Reaper 5 and “Regions” (each region triggered by MIDI notes or CCs). Backing tracks are a breeze, using Reaper 5 and creating Regions from whatever audio clip is on your timeline… plus, you can infinitely loop Regions, and move onto another… and it won’t play the one you clicked to or triggered, until the current one has stopped playing.
Why the fuck would anyone buy or use a hardware sampler for live use, when a laptop is commonplace live, these days… and… a laptop with a MIDI controller is just so much more cost-effective (and the storage and options are basically unlimited)…? I would feel completely comfortable using a laptop live, especially with a solid-state hard drive in it…. why the hell not? That’s fast as hell, and rock-solid stable.
I know I’m babbling about this (it’s 2:11am and I had a huge coffee about two hours ago)… I really need to make a YouTube video talking about the pros and cons, and showing how effortlessly a laptop and MIDI controller can be used to great effect, for live…
Since I make all of my music on a computer… creating backing tracks is simply a matter of simplifying an arrangement, and muting lead vocal tracks, and/or mixing things down to a simple 5-track setup, per song (bass, drums, keys, extra guitars, backing vocals)…. I don’t have to manually re-arrange something in a hardware sequencer… and sample, re-sample… load/chop/tweak… why? It just doesn’t make any sense.
Any duos out there? Any electronic musicians who perform live? What do you use? What do you hate? Pro-laptop? Anti-laptop? Talk to me. I have 60+ readers on this blog… talk to me. Let me know you’re out there. Let’s create some kind of community, here… I want to know what you think and what you’re using.
So I can get a feel of my readership…. I want to know what inspires you the most. And if you have questions about a particular artist’s style/tricks, etc… I’ll do my best to dissect it and decipher it.
Myself… I’m all over the map, but if I had to choose… if I HAD to choose:
- anything singer/songwriter/obscure/indie (with female vocals)
- anything that was on MTV’s “120 Minutes” in the early-to-late-90s)
- indie/pop/90s (Ben Lee / Ben Kweller, etc)
- “Beatles-influenced” brilliant piano singer/songwriters
- most artists on KEXP (the Seattle radio station’s youtube channel)
I really want to know who all of you really love…. let me know!
(sorry for the late post)
Wow… sorry for the delay! Happy New Year n shit…
“On A Plain” is my all-time favorite Nirvana song. Fucking PERFECTION.
And… on a whole other fucking level….
It doesn’t get much better than this:
God, I’ve been so busy lately. Anyway…
Basics of Harmony! Ready? Go!
It’s actually quite simple.
Let’s say you’re singing a very, VERY simple melody. You’re playing a C chord on the piano in steady quarter-note pulses. And you’re singing a simple melody, that you want to practice harmonizing (say, along with your phone, after you record a voice memo or demo or whatever).
You’re playing C… you’re singing a C note, in this rhythm:
One and…. (rest on 2) and threeeeee…. (hold through 4)
Let’s say the lyrics are this… “thinking, of you…. thinking, of you”
The best way to harmonize this line is in THIRDS. What’s a 3rd? Well, it’s a distance between two notes. Often, the root note of a chord (such as C, in a C chord), up to E (in a C chord, that’s the 3rd).
So, you demo’d your simple song… and you sang “thinking, of you” in this rhythm: 1 + (2) + 3 (4).
Now you’re singing along to your idea… but this time, you’re singing an E note (above your original melody), with the same lyrics.
It’s literally that simple.
In ALL catchy music, vocals are most commonly harmonized by a 3rd (up from the original melody). You can also harmonize DOWN a 3rd (such as singing an A note while the lead vocal sings a C). This isn’t always a good choice, in a major key, because it creates minor harmony, or possibly a country thing (between the vocals and piano, you’re singing and playing a C6 chord, which is very oldschool country).
Less common are 5ths, because as you sing 5th harmony.. you create what is sometimes weird-sounding, called “parallel 5ths” (it’s a classical rule you don’t always want to break). Another good harmony is up a 6th. Or 4ths/suspensions.
I’ll try to find some audio examples of this on YouTube, for a future post… or an addition to this post.
Vocal harmony is friggin’ awesome.
Go listen to the cranberries “Dreams”, and “Linger”. And then Fleet Foxes “White Winter Hymnal”. And furthermore, anything Jacob Collier does on YouTube (that dude is out of this world insane…. I have no friggin’ idea what he’s harmonizing, most times I watch his videos). But, if you’re looking for pretty and simple— how about also checking out Band Of Horses’ “Marry Song”, or anything by the indie slowcore band Low.
Stay tuned for the next post… I’ll post audio examples and YouTube vids.
I played a big part in developing and popularizing this cool MIDI-based software, that allows you to quickly do a lot of cool MIDI stuff. I last talked about it a few years ago, as there was a big update to version 2.5. Now, RC has been updated to version 3.1, with a new user interface, and many more features. I invite all of you (especially those of you who love MIDI composition) to check out the demo. It’s worth your time.
A little history:
RapidComposer was created by Attila Mezei, a Hungarian software developer. When RapidComposer began, it had a very rough start, because it crashed so much. But I discovered it, and saw its potential, so I emailed Attila, and offered to help him work a lot of the bugs out, and do a tutorial series on it, as well as help him develop phrases and new soundfonts which I created from scratch. I did all of this for version 2.5, and in exchange, Attila gave me a license for the full version of the software. RC 3.0 was released in spring 2016, and offered a lot more than 2.5.
Six years after RC debuted, its fanbase grew exponentially, and I am really happy for Mr. Mezei. He truly has created something amazing that no other software developer has done yet, and with so many features.
Check out some of the videos created by a very helpful member named “Yellukhan”:
Now, this guy uses RapidComposer, but with realistic virtual instruments from Kontakt and such… the built-in sounds when you download RapidComposer are soundfonts (created by Attila, and myself). They may not be very realistic, as you get the best sounds when RapidComposer is controlling virtual instruments such as Omnisphere, EZKeys, or any realistic Kontakt library (found in Native Instruments’ “KOMPLETE” series). But it’s pretty impressive, what RapidComposer can do… if you take the time with it. So again, check it out and let me know what you think! Comment below… especially if you’re a MIDI geek!
1. Get it done. Don’t make everything perfect.
Write all the time, and stop striving to reinvent the wheel. You’ll never write “In My Life” or “Fix You”. Neither will I. They’ve already been written. Just write. A lot. Daily. Slow and fast songs. Silly stupid songs. Serious ones. Get it done, and stop giving a damn what people think.
2. Get opinions from those you care about.
You made a 5-song digital EP? Awesome. Check in with friends. Send mp3s via email. “What do you think of the EP? Which song is your favorite? Am I onto something, here?”
Low-sung verses. Higher-sung choruses. Slow guitar strums with a fast beat. Or the opposite. Piano songs. Acoustic songs. Mix it up. Maybe a song entirely with bass guitar, sax, and drums (the band Morphine made a career of a similar sound).
4. Forget what you know.
Know a lot about music theory? Who cares? Forget about it, when you write. Detune your guitar into some weird altered tuning so you are forced to try new shapes with your fingers. Go into a sound in your keyboard that makes little sense. Don’t always run to the grand piano preset. Throw an effect pedal in between your keyboard and computer, and see what comes about. Experiment with a loop pedal. Take chances!
5. “I’m not as good as…”
Never compare yourself to others. Friends of mine are insanely talented. INSANELY. Their keyboard skills make me want to quit playing keys. Their singing voices are insanely trained. So what? I am not a trained singer, but I can sing, and harmonize. I can play basic piano stuff, but I cannot play difficult passages or songs. I can’t shred a blues solo, and my fingerpicking is capable, but nothing spectacular. Doesn’t matter. I focus on my strengths. Do the same for yourself.
6. Focus on the end result, the goal, the reason you do this.
Stop dissecting every step along the way when you’re writing and recording. “Too much string noise when my finger scraped the strings, there”… or “my voice cracked a little, in that part”…. “my harmony sounds a little weird, but ok…” Who cares?! Roll with it. Then listen to the song when it’s done, then make new decisions and choices. I wrote a song years ago. Recorded it in late 2014. It was cool, but I decided I hated it when listening to it again, last week. I changed the keyboard parts, and sped up the song while retaining the same key (thank you, computers). Now I love the song, and it’s infinitely better. Took two years to tweak it. Needed to give it a rest… listen, and then all the “here’s how I need to change it” brainstorming came out, within one listen of the song. I’ll release it soon… hopefully. End goal, right?
7. Be YOU.
Be yourself. Always. Stop singing like John Mayer or Ben Howard. Sing like YOU. I taught myself to sing listening to Green Day, Third Eye Blind, Ben Lee and Jimmy Eat World a lot in the late 90s. My voice is similar to theirs, and I love that. My songwriting style is similar, in some ways, too. It’s simple. It sounds like me. I can’t do Sigur Ros, and I can’t do Jason Mraz. I can’t do Bon Iver unless I’m playing with my vocal harmonizer pedal and lots of reverb. I fuck around, and roll with whatever sounds good to me. I love so many singers (and TONS of female singers, too) but I can’t do them. I can only do me.
8. Minimalist. Simplicity.
I saw an acoustic singer-songwriter a month ago. Too many fancy chords, rhythms, fancy-pants nonsense. His shit was forgettable. Then a few days later, I saw another dude. Lots of G and Cadd9 chords with a capo. His lyrics, delivery, and vibe of the song spoke to me way more intensely than the first guy.
Matthew Sweet wrote “Sick Of Myself” in 10 minutes. He thought it was a stupid song. Turned out to be one of his biggest hits, and he never regretted putting it on his 1995 album, “100% Fun.”
Jason Mraz… most of his really easy shit… A Beautiful Mess, I Won’t Give Up… SIMPLE AS HELL. And perfect. John Mayer’s “Gravity”? NO ONE CAN ARGUE HOW FUCKIN’ GREAT THAT SONG IS. Simple, and perfect. People like shit that they can just vibe to. They don’t need masturbatory musicianship. They want something that speaks to their souls. Make music like that, and change the world.
I can do shit solo. And often do. But I also come up with some great shit, working with people. Don’t be afraid to. It’s important.
10. Rest. Think. Watch TV. Read. Kill it, but chill, too.
Rest. Rest. Rest. REST. Stop working so hard. Hell, just yesterday, I killed it with my friend Mike. We tracked three new hip-hop songs to beats we threw together in a few hours. We shot a video session for YouTube. We shot video as he tracked vocals, so we can have material for YouTube. We ate food and talked about nutrition and working out. We took a break and hung out. But in 8 hours, we did a LOT, and killed it. Today, I plan on doing the same. But first, I needed four hours to chill, blog, and help all of YOU. Then I’m going to hit the studio hard and work on shit. It’s 5pm. I have til about midnight. I’ll get it all done, and I’ll take a break in between. Don’t forget to fucking REST. Seriously. Ok? Cool. Get to work. Or chill.
Have a tip to share? COMMENT!!! 🙂
Something that always bothers me about music in general is it seems to be divided up the middle: cool, and uncool music. Even in pop.
Cool (yesterday and today): Joy Division, Chvrches, Hozier, Dance Gavin Dance, Wilco, Alex G, Turnover, Wet
Uncool: John Mayer, Jason Mraz, Alex Goot (not Alex G), Ida, Twenty One Pilots, Billy Joel
In local scenes… you have the acoustic/folk singer-songwriter people, and the hipster/punk/DIY bands. I’m friends with people from both scenes, and always have been. Both are making listenable, cool music. But god forbid you’re on the opposing team, and you find yourself at one or the other shows. What would everyone think?!
I see this on social media all the time, too. It bugs me. A lot.
There’s a level of songcraft that artists who truly don’t give a damn and are really all about the music (and put in their 10,000 hours), always seem to strive for. And then there’s an (admittedly) lower level of songcraft, from artists who exist mostly to please their popular friends, in a scene. They might also enjoy music and the art of making it, but for these artists, it’s more about the immediacy and the lyrics carrying the music, and less about the total package.
Take for instance, local hero (at least to those of us in Philly), Alex G. Alex G is an artist whose music I don’t entirely enjoy, though I also don’t entirely dislike. By and large, it’s not that musically interesting or listenable. But it’s got that certain something and anyone who’s a huge fan of his can understand the appeal. He’s insanely popular. Insanely popular. He’s got 77,000 monthly listeners on Spotify. Seventy-seven thousand! It’s only going to grow.
On the flipside, let’s take Ida. A band I worship (and always will). The level of songcraft is much, much higher with this band. They released their first record in 1994. Their best record is 2000’s Will You Find Me (Tiger Style Records). Carefully-thought-out harmonies, interesting guitars and arrangements, and an avant-garde sensibility, shared with Alex G, who also has a huge avant-garde sensibility in his pop writing.
But… why does Ida only have 2,800-ish monthly listeners on Spotify, whereas Alex G has 77,000? Part of the reason is that Ida never has promoted themselves, nor has toured much. And they haven’t released any new music since 2008. But… the craft. My god, the craft.
Alex G records all of his music from his college dorm (or friends’ houses). And it’s lo-fi as FUCK. Ida records in professional studios, or sometimes at home, but again…. it’s a higher level of craft all around. Again, let’s compare.
Why is one cooler than the other? Why does one have thousands and thousands more listeners?
More importantly…. what do YOU do when you feel you’re making the best music you possibly can (and when you listen to it, you realize… “This is damn good!”) and like, no one… NO ONE CARES. You see all these mediocre bands from your town or city get all the press and all the shows… and not just press, but multiple press, weeks or months down the road…. and you read about bands you feel your music is better than… everywhere you look. What do you do? Do you refine your craft? Do you change your sound to become more lo-fi? Do you throw a little bit of “phony” in your genuine sound? Do you let the lyrics be 85% more important than the music, itself?
I feel this is an important discussion, and something so many artists are afraid to publicly discuss, or honestly admit to other artists, or themselves!
What I hear a lot of, these days:
- “808” kits (in trap, dubstep, “EDM” genres)– Roland TR-808 (drum machine from the early 80s, or sampled versions of it)
- super-fast-programmed closed hi-hats (even in indie/alt stuff)… sometimes it sounds pretty lame.
- Exaggerated, dated synths (early 90s) in albums such as Halsey’s debut, and most top 100 alternative/modern rock charts (sounds/genres always go in cycles)
- heavily-reverbed grand pianos (Lana Del Rey, countless other stuff). In my opinion, pianos sound better dry, like you’re hearing them in a room. But, sometimes reverbed pianos have their place.
- very obvious drum machines/fake drums. This used to be taboo, in the late 90s or early 2000s. These days, go for it, and go big.
- Beats without hi-hats or ride cymbals (think Lorde’s “Royals”)
- “Stomped” kick drums… “four on the floor” (obviously borrowed from early 90s techno and house). Often found in new-folk music.
I’m always the first to say— try to avoid trends where possible. Be YOU. It’s cool to take sounds/production styles from other artists, but what always matters most? The song, and its lyrics. If it’s a good-enough song (on acoustic guitar and vocals ONLY, or piano/vocals ONLY), then you usually don’t need much else.