Techno, electro and bass come together in the form of a house beat in this TECHNO HOUSE track that is raised just slightly above the normal BPM to get things exciting. Enjoy this track that is about 6:00, it should have a lot of cool artifacts and loops that could be interesting when layered on top of each other. It should be a good workout track!
So in the beginning of the track, when I was first putting together the percussion and starting to make a track at all, I was thinking a lot about Monty Python and the skit at the beginning of The Holy Grail.
Download the track below:
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The last few months have been full of landscaping work; I haven’t had as much time for music as I’d like which is why finishing this music took so long. But it also gave me a chance to take a step back and think about what I want to make more deeply. I love french house; so I got back to a lot of that king of filtering with the steady background beat. I really had to rethink my process for this last track. Normally I like to spend an hour or two every day working on sound designs, melodies, working with new technologies, etc. I love music production because it has some pretty hardcore software engineering associated with it and these softwares allow for particle manipulations, wave shaping, modularizing, phase shifting; it all a bunch of quantum physics and learning about how sound waves and energy works for me. This track represents a lot of learning and education.
click the link above if the video below doesn’t work; I’ve had trouble embedding videos from youtube lately.
This album represents so much hard work over the last 18 months, I have really poured myself into this music in an attempt to start playing live shows; I think it could start to happen soon! But I am also completely focused on just making music, and don’t want to be distracted with something as insane as creating a tour (honestly sounds like way too much work for one person, shout out to everyone doing that right now). I spent a lot of time creating the process to develop these sounds.
Battle for Mars represents the longest I’ve ever spent on a track; over 6 months now. All of the sounds are made from scratch, with the exception of the Gangus drums. I wrote the first EROS album in less time than that I think. The quality of the production hopefully represents that. The loudness and the mix of my tracks should be improving quite a bit and the stereo mix is just plain difficult to normalize for every system, so I’ve focused on the acoustics of a car and a clean mix (really, this just means I do a car-play test with my music). This mix is very iterative; some of the tracks have like 30 layers of EQ, the bass has been heavily processed in multiple layers of trash and a myriad of other heavy distortion plugins including the Glitch Machines armada. I really enjoyed the Max for Live improvements also, there is a vertex delay that was very fun to use.
I have a few different versions of the track, its in C and moves into D# a tiny bit, but there’s not a ton of melodic movement in this track; it is mostly about creating a unified atmosphere and feelings for the movement of the sound. So I guess the music would be a little weird if you have never heard any of my sound designs before; they are all made from scratch using operator, Ableton stock plugins, Serum, Phaseplant, Trash, Rift, and honestly too many plugins to ever remember or name.
I’ll have a music video out tomorrow or this weekend, I am not super happy with how this latest iteration came out and it takes a while to process. Thanks for listening!
Here is the final track’s cover art (really just a couple of good chat GPT prompts and editing) of EROS Part 3: Battle for Mars:
Recurve has some of my favorite melodic work; the beginning took a little bit of time to sort out; but I think its pretty unique (in terms of melodic structure) and once the bass kicks in; the sound design adds a dynamism that builds on the initial melody allowing it to go in and out. I owe all of this melodic structure stuff to Noah, who seems to constantly remind me of motifs and returning back to the original ideas and sounds from the beginning of the track. I feel like this is a constantly evolving relationship between the end and beginning that is definitive of good taoist philosophy.
This track takes a more somber tone to the exploration of the universe through sound; a lot of this work speaks to the loneliness of space, but simultaneously the thrill of adventure. We constantly go a little further from safety to heroically explore the cosmos in spite of our inevitable extinction.
This is the Electro House adventure of a robot named T that travels through space to collect metal debris from the Exosphere, avoiding satellites and various supersonic frequencies to clean the passageways between Earth and Outer Space. This robot has a very spritely personality and enjoys also clearing the sound waves for other objects to pass more peacefully through the turbulence of the outer layers of atmosphere of planet Earth. T is also a big fan of the Sun and enjoys testing the gravitational pull at the edge of the solar winds.
This track has been out on Spotify for a little while, but I consider it to be a part of the EROS 3 music because the music has come in a sort of wave. This track specifically felt like a big breakthrough for my sound and I enjoyed the idea of playing it live quite a bit; it definitely has the potential to be mixed with other house tracks.
My focus has been centered around the low end of the frequency spectrum for a long time now; I just love making womps and wobbles. When I get a chance to play live more; I am going to do a lot of experimentation with speakers and producing solid and fun waves that emanate from the lower spectrum.
ROBO Trash Music Video
I’ve been having a great time making these music videos and pushing the magic software to its limits. I am going to most likely start during some custom color corrections using code, but for now, the algorithms available in magic are pretty cool!
the E.T.’s latest melodic electro house track is a well mixed 120 BPM adventure in the key of D.
Production
I spent about 6 months producing the track and I got a lot out of trying to work with all of the different sounds and variations of the original melody that I was able to create. I used all of my production technology, which now includes Fabfilter PROQ3, Izotope’s Trash 2, Sylenth, Reaktor, and all of the native Ableton plugins.
Crave came together over the course of a few months, the layering of the lead synths took a while to plan. I feel like this is one of my best produced tracks yet and I certainly put a good amount of time into it.
It doesn’t exactly fit into what I am getting ready to create with my next album, but I certainly feel that the track is well written, so I am releasing it as possibly one of my last singles. I am feeling heavily into writing albums and am pretty excited about the idea of creating themes around the tracks to give them more purpose.
Electro-House and Modern EDM
For the past week I haven’t even been listening to much EDM. I’ve been actually getting really excited about older Pink Floyd tracks to find sounds that are more uniquely dissonant and distorted. Their older work certainly contains some mastery. This track is another experimental attempt at trying to create the sounds that meld together into a seizing rhythm of house beats.
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