Bandcamp

Combine\\Rewind

I have eventually come to the realization that as technology advances and almost everything becomes as easy as the click of a button, what is really going to matter is our personal experience. As counter-intuitive as it sounds, I believe technology will bring people closer as opposed to keeping them away. Think about it, in a world full of Facebook feeds and endless Tumblr reposts, Would you put apart six hours from your daily schedule to meet a random stranger? Or would you use it to have a meaningful encounter with someone you know really well and would rather spend your quality time on? I think these questions are essential to understanding what our future environment will be.

Here are a few examples, people exchanging mixtapes internationally via real mail is actually witnessing an increase, more and more people have been buying music on vinyl for the past decade now, Bandcamp is popular than ever. I think it's important to see the trend here, and extrapolate it to what this trend will eventually lead to.

Recently, I found out about a platform known as FanHub that helps artists tailor and create their own Facebook Messenger bots for their artist page. I found this fascinating primarily because it goes really well with the idea that more and more music consumers are now open to ditching traditional ways of interacting with artists and accessing exclusive material than ever before, and this speaks volumes about how there is a shift in thinking of the current generation. Being a video game enthusiast, I couldn't help wondering about what would happen if somebody created an ARG (alternate-reality game) using only a Facebook messenger bot. I am pretty sure at this point that choosing to let people and possible fans engage with you personally via Messenger could perhaps be lot better in terms of reach. Sadly, the service that FanHub offered seemed to be a lot more time and effort than I could afford. Hence, over the next month or two, I shall try and figure out the Facebook Messenger API, and try developing my own bot. If it works, cool. If not, I'll bury it.

Moving on, plenty of news this month on the music and audio front. For one, I just recently finished working on the music for the Life in a Kilt podcast, which consisted of a mixture of genres as wide as rock and folk to glitch-hop and synthpop. Fun stuff. Earlier this October, a movie, 'Figure A' that I mixed sound for premiered at Cinesonika 5, a reputed film festival and conference that focuses exclusively on sound design and music for films and visual media. It happened for the first time in the United States and I was super stoked to know that happened. You can check out the trailer here.

 
 

In the meanwhile, I am continuing to work on music for several games and a couple of short films, and it seems to be quite the testing task with work, slightly increasing in the music space, but not to be underwhelmed by that, I have taken some time off that to better update my website, portfolio and resume which also now contains plenty of examples of my software development work. I hope that you will go through the various new things added to my website and like what I've done with the limited resources available.

Coming back to something that is an extension of the idea of using bots to create narrative experiences, this month I decided to combine two rather disconnected fields to create something that is new and rather interesting. I curated a Spotify playlist and wrote a generative poem at the same time! Now, the Spotify API is known to have the ability to fragment sentences into words that can form tracks of a playlist. I decided to reverse engineer it's process in thought. Have a look below. What I eventually hope to do is create a tool that lets you generate a poem on any particular topic and then turn it into a Spotify playlist as well.

 
 

What's fascinating though, is there are always a number of words that can be songs from completely different genres, and simply the task of crafting this playlist led me to discover some interesting new music. There is also the fact multiple songs could have the same word as the song name, and in that case there could be a certain amount of chance thrown into the algorithm for it to be able to decide which of the tracks are suitable for the playlist. I am going to leave this here in itself, and hope that next time I shall be able to pick up on this.

Who says you can't write a poem and curate a playlist at the same time?

Breaking the Wall

The past few weeks have been unexpectedly more busy than I planned. I took some time to sit and mull over what I wanted to do as an artist and where I wanted to go with my work as a music composer / producer and I found myself tugged in several different directions, albeit very unrelated ones. This gave me the chance to explore the idea of breaking a wall. 

What do I mean by breaking a wall? I thought about the idea creatively and analytically. And the more I thought about it, the more it seemed to make sense. I feel that we're living in an increasingly isolated society where more and more people would prefer to do things on their phone and produce their music by their own in their own little home studios and setups. I realise to a large extent that the majority of my work consists of music I create and put out on the web single-handedly hoping for it to reach the right people and an audience that would appreciate it. As we move towards a more heavily 'curated' society, it becomes more and more difficult for me to maintain a coherent identity as an artist. For me, art is super-personal and every time I create some music, it stems out of a personal experience that had an impact on me. To expect somebody to have similar experiences in their life, seems slightly outrageous. I would rather write a 70s synth horror score one day, and a hip-hop banger with metal guitars the next. I don't care about stereotypes or what an 'artist image' is supposed to be. On one level, that for me is breaking a wall.

On another level, I really feel the need now more than ever to collaborate with new artists with unheard-of ideas and un-talked-about stories, because at the end of the day we're all storytellers. We love telling stories and we love hearing them. It gives us something real to relate with and comfort. Comfort, that in the wide universe spanning over a billion galaxies and a gazillion miles, we're not alone. Have you ever tried speaking with someone that never understood your language or somebody that you would never ever meet, if it were not for the internet? It's mind-boggling - the possibilities we have in this time and age and what we make of it.

It is this strange, but revelatory idea that struck my head about a few weeks ago when I discovered an interesting music producer perhaps, much like myself that liked a couple of my tracks on Soundcloud. Doing the customary honours (and being curious) I went over to their Soundcloud to check out the music. This eventually led me to the Bandcamp page of a producer that goes by the name Nea. This album in particular is something that I really digged for its sound as well as visual aesthetic.

 
 

We eventually collaborated on a track which turned out to be an interesting combination of psychedelic and trip-hop music. It fascinates me that sometimes, being where you are and having the surroundings around you that you have growing up, greatly influences how you think about music, rhythm and melody. And then suddenly, you throw it at somebody on the other side of the globe and you're never sure what turns up. The uncertainty and the thrill of it and how unpredictable results can be, still makes me think about every single notion we have about everything. Questioning everything is a gift. And as a musician, I only hope that I can do that every single day. It's literally what makes me excited to open my eyes to a new morning.

 
 

Moving on, I worked on several projects these days. One of them was actually a score for a short horror / experimental film that was inspired by the visual / audio aesthetic of the 70s and 80s. Seeing that Stranger Things is such a big deal everywhere just a few days after I started working on this film, I wouldn't go as far as saying that the style of music in Stranger Things is something I took inspiration from. But it fascinates me how sometimes one film / good tv show comes out following a certain music style and suddenly everyone wants to hop on to the bandwagon. It's sad seeing trends being given more leverage than actual hardcore creativity sometimes.

I would perhaps place the music I made for this particular short film as more inspired by the work of Wendy Carlos than, say music that is so to speak textbook 80s. Being a dissonant composer and somehow always having that Bernard Herrmann DNA running through the music I make for horror, I feel like it made for an interesting combination of sounds. John Carpenter is also another composer I deeply admire and look up to, when horror film music is talked about.

Apart from all that, another topic that found my curiosity was the use of non-diegetic sounds as part of a music score for a film. The idea first hit me when I was on Twitter and found somebody asking about examples where the wall between music and sound effects was removed. There were some pretty interesting answers to the question on Twitter (I added the tweet thread below). While the usage of a combination of sound design and music in recent video games might have been the first and most obvious answer, I actually found myself trying to find out about films in particular that did this. There definitely seem to be a lot more video games than films that do this, though.

 
 
 
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The first film that I could find about that tried blurring the gap between sound design and music was a film in 1956 called Forbidden Planet (poster above) and if you go and watch the film, the sounds you hear in the film are fascinating to say the least. What's piqued my interest in Forbidden Planet is that it's electronic music score's innovation stemmed out of the need to avoid film industry music guild fees, which eventually led composer Louis Barron to construct his own electronic circuits and a ring modulator so that he could create the characteristic blips, blops and beeps that you hear all through the film. What's sad is that they never got considered for an Academy Award for their score simply because they did not belong to the Musicians Union. People didn't get whether to put their work in the "Sound Effects" category or "Music" category. If that's not hardcore sound fuckery for you, I don't know what is, honestly.

There are also an interesting paper I found that talks in depth about Diegetic / Non-diegetic music scores and how they relate with film and narrative. There are some very interesting examples there. I also think that there's a lot of things in the concept of usage of non-diegetic sounds or music as score in film that films can borrow from video games and I am surprised that more people don't try to connect these seemingly unconnected dots. This article in particular talks a lot about the subtext of non-diegetic narrative in video games - things like people finding out more about the story of the game from items they collect inside the game. In a sense it's like people are breaking the fourth wall with video-games by finding out more of the story from items. What if people could do something similar with music in films? I feel that to a large extent, a lot of inspiration could be taken from the Bioshock franchise where some of the licensed music seems to be so well thought-out that it's almost like it tells a story just with the licensed songs themselves. Almost all of them strangely enough, seem to have their context twisted and made to fit what the narrative of the game is. Last year, I wrote my master's thesis on the topic of narrative in Bioshock Infinite, and I had a section where I talked about the idea of licensed songs being used as narrative in games. If you are interested to read more in depth about that game in particular, and how it put this to use, you can check my thesis which I've uploaded here.

 
 

It is with this context that, when I started working on music for a short film, and I saw the first few scenes, I inherently realised that it seemed to somehow go well with music that a friend and a close collaborator Nikita Sailesh had recently been working on. Having reached out to her and secured her permission to use some of her work in a derivative sense, I eventually tried to shift the tone of music in a rather different direction that seemed more nightmarish, yet elusive. At first, I re-recorded the entire track through a cheaper decades-old analog tape recorder and heavily EQ'd it to give it a characteristic radio-like texture. The idea at first was to have it sound like it was coming from a nearby radio, which incidentally was not in the film. But one can always use imagination to conjure things up, and somehow in the context of the scene it seemed to make sense from the non-diegetic perspective.

Eventually, the music composer in me started taking control, and I decided to add many many new things to the slightly destructive radio-filtered track that was the new version of the music. What happened later, was that the original track by Nikita got severely pushed into the background and something you don't actually hear much of, at all in the final version. But it definitely adds something to the core feeling of the track. I added a lot of synths, percussion and some sudden extended crescendos of violins and voila, what came out seemed reminiscent of somebody who was sitting at a beach feeling great, but there was this slight undertone of things not being normal or 'right' - something that suddenly came into prominence with the percussion hits and the orchestral crescendos. A french dream about the Riviera, gone very very rogue. Nightmares abound!

 
 

Moving on, there have been plenty of failures and plenty of successes doing things. I worked on audio for an art studio promo, but it perhaps didn't go as I expected. It would perhaps end up on the Disquiet Junto, an interesting collective of audio artists and experimental music composers that come up with new compositions and works every other week on a new theme or topic. It makes for a very interesting creative process to work on tracks that have themes they think up. It's full of innovative, creative and interesting musicians. If you're a musician, I would definitely recommend looking them up and trying out some of their 'juntos' to try and see where it takes you creatively.

As for me, I shall continue to create more music, and try breaking more walls with music, art and games - just as much as I try to find news ideas, collaborators and possibilities. Also, I just finished a new experimental hip-hop joint. So more on that later. wink wink.