Transcript
Speaker: Welcome to Chasing the Beats, a show dedicated to weeklybeats.com artists, their songs and stories from the 2024 season. I'm your host, SQF, and our guest today is Jerwu Koo.
Speaker: All
Speaker: right, welcome Jerwu Koo. Thanks for being here, man. Hello. Nice to be here. For the record, you you have done a great service to the podcast and rally today, even though you're not feeling the best.
Speaker: And I thank you. Yeah, that's no problem. As said, I had a few coffees, took some lunch, ate a burger. I'm feeling better now. So let's do it. Awesome. Yeah, cool.
Speaker: Well, I was looking back through your music and definitely left a few comments and favorited some tracks last year. But as with every guest, it's been great to do a deeper dive into your music. And missed some really good ones.
Speaker: Oh, yeah. I haven't been super active in the community this year. So I understand that some of the songs might have gone unnoticed. Like, they don't have a lot of comments. Yeah.
Speaker: Because I'm bad at leaving comments myself. So that makes sense. Yeah, yeah. And I mean, that's kind of the whole purpose of doing the show is there's just so much music. It's just hard to listen and comment to everything that happens during the year. So now that we have a ah chance to breathe and reflect and focus a little bit more, it's nice to, you know, find some of those hidden gems.
Speaker: Yeah, sounds good. And this was not your first weekly beats, right? No, I actually started back in 2016. I think it was Judgment Act that introduced me. It might have been Pierre as well. We come from another community.
Speaker: So I think he was the one that introduced me. I did not finish 2016, though. I quit maybe like week 15 or 12 or something, pretty early on. yeah But since 2018, I've been going every week. so Awesome.
Speaker: And what got you over the hump from 2016 to 2018? I think it was just determination yeah that made me push through. And then getting the streak going and not wanting to break it. I think that's a common theme here.
Speaker: But once you get that streak going and know you have it for like six years, if you count it like that, yeah it's hard to break it. Yeah, that is a hell of a streak.
Speaker: And what was your music making experience prior to your first First Weekly Beats? I think my first song was in Cubase in like middle school. Or and I don't know what you call it in English, but it's like when you're around 12 years old, like 11, 12. Yeah, middle school. you got Yeah, right.
Speaker: So that's when I first started making music. I remember it was like a ah joke song. I just recorded my voice and pitched it up and down and then sent it to my friends. And that's how I got started.
Speaker: I also had some background in piano earlier, but ah I never really continue with that. ah So that's probably why I have a lot of piano in my songs. It still sticks around.
Speaker: Yeah, I was going to ask about your piano experience because i the piano is great, and I never know if it's someone actually playing piano or if it's like ah MIDI, you know because so i'm i'm I'm fooled a lot, I think.
Speaker: Yeah, in my case, it's all MIDI, actually. I don't play piano anymore. I have one at home, but I don't play it. I'm fully piano roll, computer keyboards, and yeah, do it in the dock.
Speaker: But your piano phrasing and
Speaker: note placements or arrangement, I guess, is very much a piano player to me. Yeah, maybe it is. I wouldn't know, but I think so, yeah. I wouldn't know. I've just been playing for so long.
Speaker: And what other, do you play any other instruments? No, I don't. And I would actually say i don't play piano because I'm so bad at it now. Maybe I was okay when I was a kid, but not right now.
Speaker: Got it. I tried to learn guitar for a bit, but I didn't have the motivation to continue. So I'm fully DAW, digital only right now. Yeah. yeah And now what's your doll of choice?
Speaker: I'm FL Studio. I remember even in middle school, FL Studio was what I started with and then just kept on going with that. I remember remember seeing some like Bass Hunter. Do you Bass Hunter?
Speaker: No, I don't. It's a Swedish electronic music artist. It was very famous in the early two thousand So I remember seeing him make a YouTube tutorial specifically for FL Studio. And I think that's what got me hooked on that too because I wanted to be like him, right?
Speaker: Nice, yeah. Yeah, I'm currently investigating DAWs because I've kind of been out of the DAW game for a long time. And I make this podcast on GarageBand. But I haven't started yet, but I've been watching some like videos like Ace Jam, I think that's how you say it from Weekly Beats, A-I-S-J-A-M.
Speaker: He's got some really good videos about Renoise. so I've been checking those out. and Of course, he's got some great M8 videos, but so a hat tip to him.
Speaker: and so yeah I'm currently about to start downloading and like trying a bunch of different ones. Have you explored different DAWs? Yeah, there was a period, maybe like 2018, where i wanted to try trackers for like the aesthetics, but I just couldn't get into it. I'm so used to the computer DAW workflow that trackers are are not for me, I realized.
Speaker: yeah Maybe I started in the wrong end too. I started like LSDJ on Game Boy, and maybe that's even more clunky than it needs to be. But yeah, things like M8 don't really appeal to me, unfortunately.
Speaker: Yeah, the it's interesting watching the videos about Renoise that it's, you know, tracker, but a DAW. And that's some pretty, pretty cool features, I think. But i you know, the M8 was one that I wasn't sure that I was actually going to really like because I was like, programming each node, is that really for me? Because i grew up using probably garage band or I can't even remember the doll I used back in like early two thousands making music, but that's kind of how I was used to making music is like you hit record and you do a bunch of different takes.
Speaker: So you mostly played physical instruments back then? then Yeah, i I grew up, I started playing trumpet in middle school. And then, kind of like other people have mentioned, like it just wasn't an instrument that I was listening to myself. like I wasn't listening to trumpet music.
Speaker: ah trumpet-based music, maybe some ska here and there. But I was like, I gotta learn guitar. So I switched to guitar around little bit before high school and took lessons for a long time.
Speaker: and then just kind of like fell out of music making. you know Oh, OK. What made you come back? i was I was kind of looking for, you know, i kind of have like a habitual hobby, ah like hobby jumping sort of thing. And I was like, just looking to like make something.
Speaker: And I was like, you know, i so I still have these guitars, like, you know, maybe, maybe I should try i'm making music again. and that's when I got back into GarageBand. And then I was like,
Speaker: God, I hate being on a computer. So that's when I started getting into this whole exploration of MIDI programming and sequencing and kind of this whole world that I'd...
Speaker: ah didn't even really know about or maybe I had ignored before because I was kind of like high and mighty about oh I I'm actually playing a real instrument here you know I'm you know I'm not just like programming notes but then I was like man, this is actually really fun to be like, instead of doing a whole new take, I could just drag the note or I can change the sound after.
Speaker: So then I got a synth drum deluge and that was kind of like, all right, this is, this is a really enjoyable way to make music that's not on a computer.
Speaker: And then now I'm kind of like coming full circle where I'm like, Well, maybe there are some advantages at times to making music on a computer. Yeah, that convenience of being able to change things when you mess up, I think is super important for me, because I like to lab around a lot, like try melodies. Oh, that didn't quite sound good. Maybe if I just change this a bit and having that process be on a physical instrument, I don't think I could could do that in the same way then.
Speaker: Yeah, it's a completely different process. that i mean i I definitely admire it and still dabble in it from time to time. But yeah being able to listen to a loop over and over again and just like tweak little parts of it and do sound design on the fly is like a huge advantage of MIDI.
Speaker: Yeah. and Speaking of melodies, some of the songs that we're going to listen to, your melodies are awesome.
Speaker: And i I was trying to think of like how to describe them. And the best I can come up with is you have melodies that are entire sentences or maybe even paragraphs.
Speaker: Like, it's not just like a eight bar loop. It's like it goes places and then kind of comes back around. So what is your... Like, how do you get there?
Speaker: Thank you. I'm not really sure. I think it partly comes from my inspirations. l Like I said, in my early ages of music production, I was in like ah inspired by Bass Hunter and also Avicii, which came later in 2010s, I assume, you know of Avicii. Yeah. yeah So he was a big inspiration too. and And both of those artists are very like melodically driven, i would say. Yeah. So I think that's why I got into that.
Speaker: But then it has always felt like the natural way of producing music to me. For the longest time, I only started, like I started with producing the melody and then I put the chords and the bass afterwards.
Speaker: So I had like an intrinsic understanding of what the chords should be, but I didn't, like that wasn't my... my origin, so to say. like I started with with the melody.
Speaker: So I think having that melody as the starting point, I think that's why I arrived with or like have good melodies. That's cool. like I had never thought about starting with a melody. I typically start with drums and bass, and then maybe some chords from time to time, and then add the melody over the top.
Speaker: Yes, I definitely do both. like More recently, I've started with the percussion and bass too, because it's so much easier to get a good groove, right? And then once you have the groove and you add the chords, it's quite natural to add a melody too.
Speaker: So I think both approaches work. Yeah, it's just kind of like, however the songs come together at the time. yeah Yeah. and Yeah. your songs also, arrangement-wise, they go other places, you know?
Speaker: Which, now that I know that you kind of start with melody a lot, that's it seems even harder to do. I think that's because I get bored. like yeah I loop a section too much, and i like I don't want to hear this anymore. I need to do something new.
Speaker: yeah i don't want it to be predictable, because having things unpredictable is fun. yeah So either I put a chord that i you don't expect or i or something like that.
Speaker: And what is that process like? Are you sort of like looping into another loop and then just seeing like how it feels? I would say that differs. I don't have a clear clear answer on that, unfortunately. MARK MIRCHANDANI, How do you begin experimenting, I guess?
Speaker: ah Usually with a drop, like ah this is the hook of the song. And then I try to think, how would I continue this? What could this lead into? And often the hardest part for me in producing is making what comes before that. Because if you think of writing, it's quite easy to say what comes after, but what comes before is much more difficult. So making intros and making verses has always been very difficult for me.
Speaker: Yeah, because your melody part, I imagine most of the time ends up being sort of like the chorus. Yeah, that's the focus for me, like producing the good hook. Yeah. And you're right, that is tough to be like, what should lead up to this?
Speaker: Yeah. And so that's just more experimenting? Yeah, I would say so. and how do you know How do you know when you've landed on the right intro?
Speaker: or the right verse? I don't. A lot of the times, especially in weekly beats, I think verses can end up being a bit boring. Like they're fine.
Speaker: But I was talking to another Swedish a producer called Nanobi. I sent him some some tracks to get like feedback. And even he agreed that these just sound like they're trying to go somewhere else rather than being their own element of the song, which is something I felt myself too.
Speaker: So I think that's the weakest part for me, still trying to make good verses and intros. Yeah. did Did this person have any tips?
Speaker: I don't think he had any tips about that. No, sorry. Bummer. Yeah.
Speaker: What is the rest of your music making process like that now that you've done weekly beats bunch of times, what's, what flow have you arrived at?
Speaker: For Weakly Bits specifically, um I'm what they call a Sunday squid. Nice. I start late in the Sunday evening, but with not enough hours to like make a good song, maybe like five hours max.
Speaker: And then i just bash my head against the wall until something pops out. Either I start with a percussion and bass line, or I have a melody. Sometimes like I shower and I hum or sing in the shower and I make up a melody and then, oh, this is really nice. I rush out and I put it in the piano roll.
Speaker: That's awesome. And i mean, I spend during weekly beats on average about five hours making a song, but I i do that across the entire week.
Speaker: I don't think I would be a great Sunday squid, as you call it. Yeah, I think that's different for everyone. um There are clearly a lot of people that are in this group of ah just starting Sunday and not having enough time.
Speaker: But I think having your process where you actually spend the whole week is a lot better, especially mental health wise.
Speaker: but some yeah Some weeks are really awful, I would say, and where you feel like you don't have inspiration, you don't have the motivation, but you really want or you need to make something anyways. Right.
Speaker: Yeah, I try to avoid that situation because that's when i kind of fall into the the slump of forced productivity.
Speaker: You know, where I'm like, where Weekly Beats sort of feels like a chore to me. Yeah, and that I definitely felt that now in 2014, 2024, sorry, where the later months it started feeling more and more like a shore and not as fun.
Speaker: But then after I had a rough evening, I go back and listen to the song and it was all worth it in the end. So that kind of ah balance was really hard that year.
Speaker: Yeah. So starting earlier, better if you can do it.
Speaker: What about starting in the middle of the week? Yeah, it happens sometimes. But most of the times, it's a Sunday song.
Speaker: What other things have you learned from all of your years of weekly beats that you can pass along to people like me that are just gearing up for the second weekly beats ever?
Speaker: Yeah, I think exactly what I said. like Often when you produce something, even if it doesn't feel right feels the best, you will almost always be proud of it afterwards in some sense.
Speaker: Maybe there you will see issues and there are always issues, even with a good song, but you will be proud that you made something. At least I am. So make something.
Speaker: Spend as much time as you want, but make make something and you will often be happy afterwards. I think this is something other guests have talked about too. yeah Just yeah putting in the time to create something is really great.
Speaker: To you, is the process of making something, like the if you think about the rewards of just making something versus the end product, is the is the act of just like making something almost better than the end?
Speaker: and That will differ quite ah quite because sometimes I will have a pretty mediocre experience producing. But then once i get going, maybe one hour in, when you get into the flow state, it starts being really, really fun.
Speaker: And that's also a recommendation. Just put in the time, get started and lower the barriers like so you don't fight against the system. like Use something you know. If you play guitar, then play guitar like because you will fight fight against the tools otherwise, right?
Speaker: So use something that you know. And now I forgot the question entirely, but...
Speaker: ah Your weekly beats knowledge that you want to drop on people. Yeah, that was part of it. Just you use what you know or spend time that isn't Sunday evenings to learn something new.
Speaker: Like you shouldn't start trying out new tools when you are crunching, right? Yeah, and I've, in the off year been trying to get back into making music. and this past week, i had been playing around with a song and then accent accidentally clicked drum loop that...
Speaker: had been slowed way down. and i was like, oh, this is a song on its own. and i immediately was like, I'm going to scrap this entire thing and bring just this one loop over to a whole new project.
Speaker: and i got into into that flow state where i was like this is almost more fun than finishing the song because like i'm just having fun like creating trying different things and it's it's kind of like a good reminder of what you're just talking about of like Just get in there and start doing something. Because every time I really worry about the end product is when I start to feel that like, sure, like feeling.
Speaker: Yeah, I definitely understand what what you mean. Trying to have fun in Weekly Beats will often lead to good products at the end as well, because you had fun and you will see afterwards that you had fun making this.
Speaker: And what you mentioned about switching things up in the middle of the process, I think that is great. I often like on those Sunday evenings, i if something isn't clicking or doesn't feel fun, I will completely scrap it and start start over.
Speaker: Maybe a third try, i will get into the flow and it's great. yeah don't be ah don't be afraid to start over if something doesn't feel right. Yeah, and that's even harder to do when it's on a Sunday. yeah yeah So how long did it take you to build up that instinct of like, all right, it's time to throw this away, even even if you've got like two hours into it?
Speaker: I think that's something I've always had. i don't like reusing things. ah So like I rarely remix my own songs or make new versions. And I think it ties into that. I would rather make something new if it doesn't feel right to use the old one.
Speaker: So I have yeah so many projects that are just dead. Maybe things like a loop or sometimes even a complete track, but it doesn't feel right. So I just scrap it and go to the next one.
Speaker: Do you ever go back and revive any of those ideas? Never, basically. Interesting. i mean i I definitely understand that about more completed songs.
Speaker: Because like I've mentioned before, and others have mentioned, like the more you listen to it in that state, the harder it is to change something because ah it never seems to get better.
Speaker: Yeah, I think you get used to a song. So if you listen to the same loop over a number of days, I think your brain will get used to it. So once you start changing it, it will start to feel wrong.
Speaker: instead like it's yeah It was OK from the start, but maybe it wasn't the best. But once you start repeating it for yourself, I've heard YouTubers talk about it, and this like loopitis or something. And you start repeating the loop and your brain gets too used to it, so you can't change it anymore.
Speaker: Yeah. So this is very dangerous, I think. I do find some success ah visiting what I call my boneyard of just Like, like you were talking about maybe the beginning of a song that didn't really go anywhere.
Speaker: But then once I haven't heard it in a while, I go back and I'm like, oh, like maybe I scrap like half of it or kill the melody or kill the baseline.
Speaker: But then whatever's left over, I'm like, okay, this is a fresh start with something that is actually decent. I think that's a great way. Actually, it's just not something i've do I'm doing myself, but having something that you like as an inspiration, because that's how you can look at it as well.
Speaker: Right. So you have something to start off with as an inspiration for something new. I think that's great. And that's something me and a friend did for 2024 for one song, actually. we We made a challenge where we sent each other a short media snippet, and we had to use that in our song.
Speaker: And that was actually yeah a great great way to get started. That is cool. i I'm still trying to figure out how to dip my toe into the collaboration realm because it's it's so hard to figure out where where do workflows overlap or like where how to trade back and forth.
Speaker: But I think that's a really good idea of like, here's just one little snippet that you should use. Yeah, I think that's actually the easiest if you're online. Because what works best for me is IRL otherwise. I think that can be so much fun too, to be two people below in front of the computer and just ah fight over the keyboard and have fun doing it.
Speaker: Like dragging notes around, like, no, move it over here. Yeah, yeah, yeah. That can be a ton of fun. That's cool. That's something me and him has have done as well. It's Smultron. Maybe if you've seen him on the site.
Speaker: um What was the name again? it's oh in I think you would pronounce it Smoltron. Smoltron? Yeah, in Swedish it's Smoltron. He used to be called Milkish before.
Speaker: OK. But yeah, it's a guy I've collaborated with. We have some songs on weekly beats together, actually. But those are back in 2020 because he he moved from the city, unfortunately. So you couldn't IRL collaborate anymore?
Speaker: Yeah, very sad. Bummer. Bummer. Yeah. Any other collaborations that you've done? None that I can remember. ah said I prefer the IRL collabs.
Speaker: Yeah. Yeah. What other Weekly Beats learnings are like, did you focus on anything specifically 2024 to get better I don't think I focused on anything, but I noticed I got quite a bit better at mixing some things.
Speaker: And I also noticed a different difference in style. Like a lot of my songs are a lot softer and groovier than they used to be. yeah i used to make a lot of hard music, and now it's not as much.
Speaker: But I don't think I had a specific mindset going into this year or the last year, I suppose. It just sort of happened. Yeah, just putting in the raps. yeah Yeah, exactly.
Speaker: Do you make much music in the off season? No, I don't, actually. That's why Weekly Beats is great for me, because it forces me to produce, which I love in the end. But yeah, on off years, I don't produce very much.
Speaker: And when I do, it's more of the larger projects, like songs I put more effort into. But I don't release those. like I never release any music outside of Weekly Beats.
Speaker: It's so interesting. I mean, i understand it and I'm still trying to figure out like why that is. Yeah, I can't say tell you.
Speaker: You don't know either, even after all these years. Yeah, I think I have a folder of half-finished songs. yeah Let me check how big it is.
Speaker: Oh, it needs to spin off my drive. But yeah, there's hundreds of songs like that I just like laying there. Pretty much finished some of them. But I don't want to release them because it still don't feel great.
Speaker: Yeah. Do you feel like not making a ton of music in the off year allows you to kind of change up your style a little bit?
Speaker: I think having the rest gives you the time to actually learn new things and focus on new things for the songs you do produce. Got it. You have the time to actually spend, if you want to learn a new plugin or want to learn something particular about mixing, you have the time to do that.
Speaker: without feeling like you need to crunch. Yeah, so the off year is more like skill building to bring into the next weekly beats year versus like finishing songs. Yeah, I would say so.
Speaker: I think that's a good way to look at and you know There's been discussions in the past on this show about activities,
Speaker: activities that actually go into the success of weekly beats that don't feel like they're productive time spent. you know One of them is like sound design.
Speaker: like If you are spending time doing sound design, it can sometimes feel like you're not making progress to finishing a song, even though it's a really important part to a song.
Speaker: Yeah, I think that's something of a trap in weekly beats too, like spending too much time on sound or design. Because I would rather have a five-minute song than a two-minute song that has slightly better drums.
Speaker: Yeah. But I never end up with the five-minute songs because I spend time on the drums instead.
Speaker: But in the off year, you know, you can spend a little bit more time just doing sound design and not finishing a song, but those skills are going to be there for the next year. Yeah, exactly.
Speaker: ah Is there anything that you want to focus on next year I'm not sure. i would like to get back more into EDM. like i' Of course, all of my music is EDM, but more of the heavier songs, I think.
Speaker: Get more back into that, but also having more groovy songs, because in in hindsight, those are the best ones from 2024, in my opinion. I think one of the songs we will listen to today is one of those.
Speaker: But yeah, I really like the the groovy songs. Even though they don't have the best production, they're usually the ones I had most fun producing. And I think you can hear that afterwards as well. Yeah, so it's interesting. You're like, I really like the groovy ones and they're my most proud songs. But it sounds like you want to get away from that a little bit.
Speaker: Yeah, because it's not the kind of music I listen to myself most often. Maybe this is common for others as well. But I most often listen to the the hard electronic music.
Speaker: So I want to produce that kind of music. Got it. like You're inspired by that more often in your day to day. Yeah, but it would also be fun to combine them somehow, which is something I did back in 2020. I was really into like ah Celtic folk music or yeah things like that, like flutes and violins and things like that.
Speaker: So I integrated that into the hardcore electronic electronic music, and that was a ton of fun. So maybe if I can combine them somehow, that would be really fun. And what do you do to keep things fresh and keep experimenting?
Speaker: Oh, that's a difficult question, because a lot of times I tend to fall back into old routines. Oh, yeah, I think we all do. Yeah, so I think trying out new sounds ah ah for 2024, for example, I got Nexus 5, which is one of those, I don't i don't know what you call would call it, like flagship ah plugin.
Speaker: It's used in tons of EDM and things like that. It's a synth. So I got that and I tried to get used to that. And I think you can notice like mid through 2024 that the sounds are quite different, at least for the electronic.
Speaker: um songs. So doing things like that to switch up my whole production. But then i even though I have those awesome instruments, I always go back to FL Studio Flex and FL f Keys, like the stock things. Because even though they're pretty bad, they're really fun to use. so So bringing in some new tools from time to time could kind of break you out of the the normal flow that you do.
Speaker: Yeah, I think so. Because it can be hard to try new styles. Because if you haven't produced in the style before, it can feel feel clunky, like you're not sure how to go about it. So I think ah that can be something, not a trap.
Speaker: Because I do think you should experiment with different styles, right? But if you start producing a song and you feel like this doesn't sound right at all, it can be quite demotivating. Oh, yeah, yeah. So I think that switching up sounds is a more safe approach to spice things up a bit.
Speaker: That's the fine line between you know pushing your own boundaries to like kind of break out of that normal cycle you do it's like the fine line is there's the danger of that this is going to be just a complete flop and not necessarily from oh I'm not going to get comments on this or other people aren't going to like it like I want to like it at the end of the day yeah And that's also a tip for Weekly Beats. I don't think you should care what other people think. You produce for yourself.
Speaker: It's a personal challenge. like Sure, getting comments is a lot of fun. We all love the comments, especially when they're good ones. yeah But I don't think you should produce for for comments. Yeah, I agree.
Speaker: But they're all it's always in the background. Yeah, of course. I wonder how this would be received by the rest of the community. Yeah, you want to make something good that people will like, right?
Speaker: Yeah. Having more fun or having fun doing it is more important. Yeah, and it's it's always better when it's something that you like. it It matters less that other people maybe don't comment on it or don't really like it.
Speaker: And everyone also has the other side where you're like, I did not like this at all. And then people are like, I loved it. Yeah, that's so common. I heard other guests talk about that too. Speed trash.
Speaker: Yeah. I have some songs that I made in like one hour back in 2018 that are still today. Like, how how did I do this in an hour? Like, this is OK music.
Speaker: This is okay. It's still even just okay music to you. Yeah, yeah but compared to the new ones, of course, it has ah ton of difference in production quality. But compared to the other things I was doing at that time, it's not that bad.
Speaker: Yeah, ah it's it's interesting that ah you know we trust our opinions in some instances and then others not at all.
Speaker: yeah Which is a fun fun discovery of the whole weekly beats process, I guess. Yeah. And that's what's so fun as well. Like making something, and even if you don't love it, you come back to it later and you listen and it's almost always something you're proud of.
Speaker: Yeah. I think the most rewarding are situations are where you surprise yourself of like, like you just said of like, where did this even come from?
Speaker: And you're kind of trying to recreate that in the music. Like you just talked about earlier um like, how can i change things up and add some surprise and like unexpected moments?
Speaker: Yeah. So, well, should we start listening to some music? Yeah, let's do it. right, we're going start out first with Banana. Yeah.
Speaker: Let's go. Sounds good.
Speaker: Alright, that was Banana. I definitely know why this made your picks, because it is an awesome song with super catchy melodies. Tell me a little bit more about it.
Speaker: Thank you. So this is one of those groovy songs I was talking about. it has groove. but Something I'm really proud of in this one is how I got the bass. ah like The bass slides feel super nice ah afterwards.
Speaker: ah The production on this one is not complex at all. It's just using FL Studio Flex. So i think getting something that I love this much out of simple and production elements is what makes this like one of my most proud songs.
Speaker: I just love this one. Yeah, i'm we were chatting while our mics were muted for everyone. This is what I was kind of talking about with like your your melodies are full sentences.
Speaker: Like you immediately start out with this super catchy melody that kind of goes all over the place in a good way. And then you go right into another super catchy melody that is ah completely different, uh,
Speaker: completely different from the first one. and so you're kind of hit with like two super catchy melodies with great phrasing. and yeah, like you said, the base, the whole package is just, it's a great song. And when you sent it over to me as one of your picks, I was like, I can't believe I missed this one last year because it's so cool.
Speaker: Yeah, I think that's something of a trope of mine, actually, or what you would call it. Like, I have one drop melody or one chorus melody, but it doesn't feel enough. I want it to keep going. So I just write a new one, and I stick them together.
Speaker: try to make it feel like fluent or fluid. Yeah. But a lot of the times, I will have two melodies in in my drops, ah especially towards the end of a track.
Speaker: And you were saying, so after the first two melodies, like you kind of have a ah ah dip in the song and you were saying, well, we were muted that, that it like you wish that part was different.
Speaker: Yeah, I think that goes back to what I was talking about earlier with my verses and stuff not being um very interesting. And some parts of music don't have to be interesting, right? It's fine to have a downtime and then go back into the the fun part.
Speaker: But I want music to be fun all the time. Oh, yeah, yeah, for sure. ah so if you like what are What are some things that you would try next year to to change that? Or is that just like a constant quest for you of trying to balance these like super catchy melodies, like high energy sections with like what comes next?
Speaker: I think that's a constant challenge. yeah It's something I'm hunting all the time. Yeah, I mean, i think we were all kind of hunting something similar as far as arranging and just making music.
Speaker: Yeah, everyone's improving. And you said you're proud of this one because it was so many just simple elements. Yeah, so it's using FL Studio Flex, which is a free instrument you get with FL Studio. And it's using a bass preset, a piano preset. And I don't remember the the lead first lead. Maybe that's just a citrus, like a simple like saw square thing.
Speaker: But it's very simple in terms of production elements, which is something I'm proud of that I was able to make something. i love this much with so simple elements. Yeah, that is that is really nice. And the mix is good. What is your mixing process? And like, how has it evolved over the years I think 2024 is the year I first started using Span properly, which is like, um I would ah guess you would call it like an EQ visualizer.
Speaker: It's pretty good compared to like the built-in things. ah So I paid more attention to having an even mix, like not making the kick go too loud or not having enough bass or the melody being too quiet or things like that.
Speaker: So that's something I started using more and more towards the end of 2024. with And that's something that has been a problem earlier. I put a lot of focus on my melodies. But in some songs, the melody is actually weaker than it should be ah in terms of volume. So I'm getting back better at mixing all the time.
Speaker: Yeah, and I've never done visual mixing or visual eqe What is that process like? I mean, I'm a beginner to that part, so don't take my word for it. But you can't trust your you talk to another beginner.
Speaker: yeah You can't trust your ears 100%, right? Of course, it should always sound good. But some things you are not able to pick up on while you're four hours into mixing.
Speaker: Because you get so used to how the mix sounds that you don't hear what's wrong with it. Sure, some some of the things you will be able to pick up on the day after. But while you're in the mix and you're Yeah, into it.
Speaker: Some things, just yeah you can't hear them. So it's nice to get a visual on it too. Is it kind of like you're um you can see where things are clashing and where you can make room in one instrument and increase another one?
Speaker: It's basically just visualizer of the ah frequency spectrum, right? So you can see if some part is too loud, and you can see the the mid-side mix, like the stereo mix. I think that's important too.
Speaker: So you can see if you have too much stereo or you don't have enough stereo. Got it. And also to reduce the amount of stereo you have in your bass, for example, so it doesn't sound muddy.
Speaker: And that's how you get kind of ah a wider sounding mix. Yeah, exactly. Okay. And that's something I've gone too far a bit with ah in earlier years. Like I've had mixes that are too wide, like they sound muddy because they are too wide.
Speaker: So still improving. Well, yeah, I mean, I'm always trying to improve my mixes. And that's one thing that I've been trying to figure out how to do lately is just get like that wider stereo.
Speaker: Mm-hmm. Yeah. so I don't tell yeah have any super good tips there, but sticking a short reverb has always been like a good trick for me. Got it.
Speaker: Well, I guess I need to get this plug-in and check that out too. Yeah, I use Valhalla Room as my go-to reverb all the time nowadays. Cool. All right, we're going to keep it rolling and listen to 2.
Speaker: get hype to Yeah, so that's actually a sequel. All right. An unofficial sequel to a Get Hyped song I made in 2020. I'm not sure which one is better, but this one has some fun things in it. And it's like one of the hard electronic songs of 2024. All right, let's get hyped.
Speaker: Yeah. to
Speaker: right, that was Get Hyped 2. And even though you don't revisit songs, this is kind of revisiting the spirit of an old song.
Speaker: Yeah, exactly. So i made this ah Get Hype in 2022. Maybe i i mentioned that. Or yeah, 2022. And going into that, I really love like rave music, like hardcore EDM rave.
Speaker: ah So I wanted to make something in the similar spirit. um And I think I had the same mindset going into this one as I had with the the other one. So that's where the name comes from.
Speaker: Most of my names don't have much meaning, but some of them are like callbacks or, yeah, banana doesn't mean anything, for example. I mean, i'm I'm not going to critique anyone's SOG names because I just randomly generate all my names because I have know i have no idea like what to call anything.
Speaker: Yeah, I think that's something I should do as well. But sometimes it's fun to just force a name, you even even if you don't know what to to name it. But it is interesting, even though I randomly name stuff, people still in the comments sort of like take on the name you know like as if I intentionally chose it. Trying to find a meaning?
Speaker: Yeah. That's funny. ah It's pretty funny. ah and On this song what made this one one of your top picks from 2024?
Speaker: I think this is one of my top like yeah EDM. After I had gotten the Nexus plugin, like you can clearly hear the big synths in this one. I will say, i don't think this is my best EDM mix of 2024.
Speaker: I don't know if I have one, but this is one that like I really love the vibe of this one. ah So yeah, that's why I picked it. And it i mean it's got great energy, like like like a lot of your songs. And you know maybe I'm ah taking in part of the name, but it is a good hype song.
Speaker: Yeah. I think you will see you with the names, there actually is some meaning behind mine. I don't know if you've seen the track list, but some of them are uppercase and some of them are lowercase. Usually, either when I'm making a slower song or something that I don't actually like, I will put a lowercase title on it instead.
Speaker: And then I go back and I find that some of my best songs are lowercase titles. Interesting. So don't know why that happens. and So there is some code in just the case of the name. Yeah.
Speaker: Like yeah something that's more throwaway, I would put the title as lowercase. And then I think later on in 2024, I actually realized this, that some of these are actually really, really good. So then I just started doing it for the ones that are more, i guess, mellow.
Speaker: That's cool. I mean, let's ah It's better than putting in the title like slow, unhappy with.
Speaker: But I guess all the a lot of your lowercase songs are not necessarily you're unhappy with them. They're just a different vibe. Yeah. Those that ah that i are really i am really unhappy with, those are just the weak name.
Speaker: like I would double you 26 or something. And some of those are actually pretty bad, but one of them I've actually gotten back to and it's actually okay. So coming back to what I said earlier, that usually you will be proud with the music you make.
Speaker: Yeah. You know, it's it's good to go back and listen to it with fresh ears. And, you know, especially since you do a lot of your songs in one giant block, like you have a different perception of it going back, you know, six months and listening to it.
Speaker: Yeah, definitely. We're going to move along to Like This. Here we go. Let's do it.
Speaker: Thank you.
Speaker: Thank you.
Speaker: An unexpected turn. Yeah, exactly. chord you don't expect. Yeah. So yeah, this is one of my really short songs, but it's also one of the the songs I love the most from the year.
Speaker: It's not perfect, but I think I nailed all the parts that I wanted to nail with it. Like the mood of it is is really great in my opinion. and And this is one that when I listen to it, I'm like, this guy either is really good at piano or really good at programming piano.
Speaker: I mean, 10 years of doing piano you know in a piano roll, I think I get used to it. As I said, when we were muted, I don't think it's perfect. There are some timings and velocities that are still a bit too robotic, but I still love it nonetheless.
Speaker: Yeah, it's it's got, like I mentioned before, the the energy and arrangement of an actual piano player. Or, you know, since you have played piano in the past, I think you bring that into this, and it just feels very natural, like I'm in the room with a piano, and then you've got that...
Speaker: like unexpected chord change that kind of throws you for a loop that's a nice, exciting part of the song, but just a great arrangement. And you know i when it ended because it is one of your shorter songs, I was a little sad because i i wanted ah wanted it to keep going.
Speaker: Yeah, I think this one should actually be short. because I wanted it to get just one emotion across. yeah like It starts off pretty happy. ah It has the short piano tones, and then it goes into the ah chords, a bit more like melancholic maybe.
Speaker: And then it just ends on a triumphant note. So I wanted to keep this short and sweet, get the emotion across, that that short journey between those emotions, and then end it.
Speaker: And that's okay. I can want more. i can I can want the song to be longer, but I think there's a certain just emotion of having an end and wanting more, you know?
Speaker: Yeah. so Then having that said, it is an issue with me making short songs that are too short. Most of my songs should be longer, but it's weekly beats, so I do what I can.
Speaker: Yeah. And maybe you'll break your rule and go back and change some of these shorter ones or like expand on them. Probably not. But maybe.
Speaker: That's something I want to improve for 2026, at least, to make longer songs. I think one issue there is that I don't want to repeat myself. like I don't want to reuse choruses if I don't have a reason to.
Speaker: So I want to get better. Even in the same song? A lot of the times, yes. yeah Because it needs to have something different. A lot of my EDM songs, I will just make it bigger, like even more punchy, put some more background elements ah to make it stand out a bit more.
Speaker: But yeah, I want to have things stay interesting. Yeah, I struggle with that, I guess, listener's perspective.
Speaker: of like kind of what we were talking about is like you want to make a song that you like, but then there's also in the back of my mind, someone has to listen to this and should i repeat this section this many times or should i bring this chorus back with, like you said, just to make it bigger.
Speaker: ah And then, you know, I listen to other people's songs that are like 10 minutes long and I'm like, okay, it is okay to make some longer sections. And so I think I'm trying to find that balance of what is like, how does a longer section serve the song versus approaching it from are people going to want to listen to this?
Speaker: Yeah. I think one thing that I really like is when you start off with introducing one theme or melody, and then you switch it up, and then you arrive back at the same one you started with.
Speaker: So that's what I try to do whenever I make a longer song, at least. Yeah, I was just watching a video about how Van Halen arranges their songs and all of their songs start with the the chorus lick at the very beginning.
Speaker: So you got get introduced to it and then come back to the chorus and you're like, oh, I know this. This is great. I heard it the at the very beginning. Yeah, that's actually a pretty good thing to do, I've noticed as well. Because just going to the drop or the chorus without having heard the melody can be a bit of a whiplash.
Speaker: So either you should have something similar or introduce it earlier on. and does It doesn't always have to be like that, of course, but it helps me right to introduce an element earlier. Or maybe a little bit of like foreshadowing of like yeah yeah some bits of the chorus so it's not all unfamiliar. Yeah, exactly.
Speaker: Yeah, that's cool. Any other arrangement tips that you've picked up and ah picked up on over the years? No, I think that's also one of my weaker points. It ties into the verses and intro things, that arrangements is but and of part of that.
Speaker: I'm not sure about it yet. I'm trying to get better. Yeah, aren't we all? Yeah, exactly. All right, let's see. right, the next one is Day in a Life.
Speaker: Yeah. Here we go.
Speaker: Thank you.
Speaker: Thank you.
Speaker: Cool. That was a Day in a Life. Tell us about this one. Yes, so going into this one, um I had clearly tried to make a lo-fi ah track, and I think I kind of succeeded.
Speaker: I had tried doing this kind of style before, but I didn't think think I nailed the vibe. But in this one, I think I did. And I said this ah to you when we were muted, but this is actually not one of my favorite tracks from 2024.
Speaker: But it's one of the most loved tracks.
Speaker: And one of my friends even said, you should start making this music instead yeah because it's better. i'm not I'm not sure if it's better. Maybe it's like...
Speaker: like that style is easier for me or something. But um I don't think this is the style for me. So for me, it's... Was this sort of like an experiment of like, I want to see if I can make a good lo-fi song?
Speaker: I think so. It it was a ah year ago at this point. But I think that was my idea going into it. I wanted to make a lo-fi track. I put some elements in there that I do like. Like the one of the instruments is a bit groovy. But other than that, I think the song is a bit too safe.
Speaker: it's not It's not fun. I want fun music. And kind of back to what you were saying, you like to make music that is similar to styles that you listen to.
Speaker: yeah So I barely listen to this kind of music myself. ah I respect artists that do and make this kind of music. and This is not the best in the style. That's not what I'm saying. I'm just saying this is not but for me, I think.
Speaker: But I think you capture that sort of just groove essence that you are trying to kind of pull over to the EDM side.
Speaker: You know, you've got that, like the baseline, just the whole vibe of it is something that it feels like you're experimenting with so that you can somehow bring that same sort of groove to that the music that you do like to listen to.
Speaker: Yeah, I think and like if you sped this up and changed out some of the and instrumentation, it would actually be a bit similar to Banana in sense of like instruments used and yeah the groove.
Speaker: So i wouldn't say I hate it but for me, it's a bit too slow and a bit too simplistic. I would rather their have it in the style of Banana.
Speaker: Yeah, I mean, I get that. but Back to the experimentation, like this is like a drastic turn from a lot of the other music that you made.
Speaker: So how, like when I think about making a drastic turn in styles or the music that I make, uh, how, what's a good way to have the most success by making a big turn like this?
Speaker: I think analyzing songs in the genre or style style you want to make will be very helpful. I can't remember what music I listened to to get the the vibe, ah but just the the drums, how they are mixed is a really important part of this style, at least. And then the bass, of course.
Speaker: And then I think some parts are things that aren't usually there, like the The piano, for example. a Piano is, of course, very common in lo-fi, but maybe not in the style that I did it in. I think I did it in a very familiar style to me, but like how I usually do it in in other music. It's very melodic.
Speaker: A lot of lo-fi otherwise tends to repeat, like use a lot of loops, yeah like the hip-hop kind of style. But I didn't do that in the same way here, I would say. Well, you took a style that you were interested in and made it your own.
Speaker: Yeah, I would say that. which is very cool. And it's it's a great groove. I really loved it when I first heard it because I commented on it and said, what a groove, love the birds, great progression and arrangement.
Speaker: And listening back to it over a year later now I ah still agree with that. Yeah, I can see that too. And I think adding the environmental sound effects, I want to just put cherry on top to actually nail it home.
Speaker: So it's a bit cheesy, but I don't regret it. i don't think it's cheesy. I mean, ah it emulates a lot of the environmental sounds that are in a lot of those lo-fi songs.
Speaker: Yeah. And that's one thing that I kind of want to try doing more of next year is more just like capturing my own sounds out in the world and bringing them into songs because I think that's really cool, fun thing to experiment with.
Speaker: Yeah, it's also a lot of fun. For this one, I just went on to like a free sound effects, royalty free, and I pulled it down. But recording your own songs and using them in songs is a ton of fun.
Speaker: I did it more back in 2020 and 2022 during the pandemic when you had more time. but it's a ton of fun to record your own sounds like I would clap in the mic and so instead of pulling claps from a sound library and so stuff like that.
Speaker: and definitely recommend any recordings just like in public spaces or? no not not that sort of thing it's more myself like banging the table or using that as a drum or things like that. like foley sounds?
Speaker: Yeah, I do have some of those, like some ah of my previous years, I would like scratch things and use those for background ambience and things like that.
Speaker: but It's very rare, but it has happened. I also recorded vocals previous years. I love singing, but I'm pretty bad at singing. So there's a lot of work involved in and getting it to sound okay.
Speaker: But unfortunately, I didn't have time or I didn't have the motivation for it in 2021. Yeah. I didn't even realize that you had done any vocals in the past. It's very rare. i think maybe five songs in total throughout these weekly beat series.
Speaker: Wow. what What does it take to get to that level of inspiration to add vocals? Oh, writing lyrics or something. Like having something I want to say because I hate writing lyrics. I'm so bad at it.
Speaker: I want to sing, but I don't want to write lyrics. Man, I'm- I want to scatter something because that's not for me.
Speaker: i I am in the same boat. I'm trying to get into doing vocals, but I'm very much stuck on the lyrics, the writing the lyrics, man.
Speaker: Because I've been like experimenting with this song that I made this week, and I'm like, this actually seems... like a good song where I could attempt to do some vocals and I've been like kind of humming some melodies along with it.
Speaker: And then I'm like, words, man, this is really, really hard. and It is hard. Credits all the songwriters out there. Yeah. and I want to make some lyrics that kind of don't make any sense.
Speaker: But that's good because then you don't feel the same pressure, right? Yeah, but I still feel the pressure of like, this doesn't make any sense. you know i think you just have to embrace that. does it yeah It doesn't have to make sense.
Speaker: For one of the songs I did write, I think it was back in 2020, I actually wrote to to half. I think he was called Jaime back then. He has switched names a few times.
Speaker: to just tell me what the lyrics should be, and I will use them or use them as inspiration. and and that was a lot easier, because then I don't have to think about what the lyrics are, because someone else gave me the idea.
Speaker: Man, and I need to do that, I think. Yeah. What does this sound like to you? Yeah. Cool. All we're going to move on to Stuck in Digital.
Speaker: Let's go.
Speaker: right, that was Stuck in Digital. Yes. So to be honest, I don't remember anything about when I produced this or what the motivation was going into it. But this is one of those songs that I came back to a few weeks later and it was like, damn, this was actually kind of good.
Speaker: ah It's very simple in production, but I think it sounds good despite being simple. I like the melodies. I like the groove.
Speaker: I yeah don't have many words to say about it. It's just one of those songs that I really like from 2024. Again, catchy melodies, ah like you said, a great groove, like it keeps moving. It's got good elements that build in it.
Speaker: And you keep coming back to this. It's simple, but I still like it. Yeah. so are you do you typically find yourself in a situation where You try to add complexity to make things better.
Speaker: Yes, I'm definitely something of a maximalist in terms of production. Things should be loud. They should be in your face. But these songs are more about the actual composition, having a good groove, like solid foundations instead of having something blasting.
Speaker: So I think that contrast is something I really want to combine. like I want to have things that are like simple fundamentally, but that do ah carry a great melody.
Speaker: Do you do a lot of removing elements to get back to simplicity? No. It's very difficult because once I add something, yeah i it's often like a melody or something that I put in the background or or something like that. And I feel like this would be wasted if I didn't put it in the song because I will not reuse to this.
Speaker: So I want to use things if I write them. And then, of course, sometimes it's so bad, like doesn't fit. Like it's not bad, but it doesn't fit the song. So yeah, it's yeah it gets trashed.
Speaker: Yeah, a lot of people have talked about the, you know, remove elements until... the like If you can remove it and still like the song, then it probably doesn't need to be there.
Speaker: yeah I'm like you, once I write a melody or have a good loop going, it's hard to throw it into the maybe I won't use this pile or the future Boneyard. Yeah. Because it's like, this is such a great section, but now it kind of doesn't fit with all the other stuff that I've made.
Speaker: Yeah, I think the only time I do throw away things completely is for the third first thing I write in a song. Like the first time I'm writing a melody, if I don't like it, I will just throw it away.
Speaker: But once I have a song going and I'm just adding new sections, those are very difficult to throw away because I will often have the right mindset going into it.
Speaker: It's just too much. Yeah. And you're saying do you you make a new section that goes with the rest of the song, and if you're not really digging it, it's still hard to throw it away?
Speaker: Yeah, or like often I do dig it, because I was in flow state when I wrote it. And if it didn't vibe with me, I would just keep tweaking it until it did. Got it. Yeah, that's that's tough.
Speaker: you know Maybe a bit of a sunk cost fallacy in songwriting. Yeah. Well, we're ah about at the end of our episode.
Speaker: We've got one more to play, which I don't even think I told you my pick yet. Oh, So you sent me five songs and i really dig them all. So I, I was like, well, i I'm going to pick my, my pick for the final song, which is Lumina.
Speaker: Oh yeah. Yeah. So we'll play it out at the end of the show. So before people get a chance to hear this, I'm going to go back and look at the comments on this.
Speaker: I originally commented on this, and this is from week two of 2024. Love the note slides and bends gives a lot of character, great melodies.
Speaker: And I still don't. those comments still hold true today. i like Great melody where the song just has a lot of character and it's one of your longer songs that we've heard today.
Speaker: and Another funny part from Week two is you said this week was very rough. I think I messed up the mastering.
Speaker: That's a good sign when this second week is already rough. Yeah. repeat It's like, man, how are you going to make it for 50 more? Yeah, and I went and checked week three. And then I was into the Sunday tracks. So it started very early in 2024. But yeah, what I do remember about this one is I wanted to make a synthwave track. And I think you will hear that as well.
Speaker: But still kept like the the piano and my my, I don't know what you should call it, my vibe. Yeah. Very melody driven and so forth.
Speaker: And some like guitar plucks. Oh, right, yeah. and It uses the Flex guitar. i I've mentioned this before, but I use the Flex instruments quite a lot just because you can slide them.
Speaker: A lot of the digital ESD plugins, they cannot have slides ah in the same way that FL Studio native plugins can. They can have slides, but they're not as convenient or flexible.
Speaker: I mean, I'm also a huge fan of slides and portamento and have to believe like probably inspired by this song because it was week two, know, very fresh myself at this point and in the year of just making music period.
Speaker: Cause prior to 2024, had maybe, i had maybe Once I got my Deluge, I had maybe released like 10 or 15 songs over the past couple years.
Speaker: So still very much trying to figure out my production groove.
Speaker: Any other bits about the creation of this? Oh, I don't remember. It's one and a half years ago. ah But I wanted to make a synthwave track. ah It has some piano.
Speaker: ah I remember this being ah also one of those songs that a lot of people liked, but I didn't feel it was my best work. But going back to it, I think the mix is actually fine in this one.
Speaker: I 100% agree. I think the instruments are cheesy because they're like clearly digital ah guitars and things like that. But it's it's fine, I think.
Speaker: i I think some of the instruments...
Speaker: ah on their own might seem a little cheesy, but they all really work together. you know I think that like the bass line and just how everything is arranged, I don't get a like a cheesy vibe from it.
Speaker: That's good to hear. And that was also my concern with Day in a dayna Life. ah As I said, like I feel things can get too cheesy if I really try to make a style that I'm not actually very comfortable in.
Speaker: e So that's something I have to get over, I suppose. so Yeah. I mean, I think that's something we all have to get over because being someone new or newer to just like MIDI sound design and not a guitar, I think it's easy to to come from either, you know, guitar, piano, other acoustic instruments and immediately get cheesy vibes from a lot of
Speaker: just sound design that you can do in synthesizers. Yeah, that makes sense. A lot of people that listen to pop and things, they don't like synths, for example. So I think and maybe it's something like that, that you're not used to how it's supposed to sound.
Speaker: Yeah. Or maybe... there's like a chiptune kind of sound that you're like, does this really fit with non-chiptune kind of sounding song? you know Yeah.
Speaker: I think that's something I break myself a lot of times. I will use instruments that don't fit because it's fun. Yeah. Chiptune leads are a typical example. I we i will use chiptune leads in any song pretty much, even if the rest of the production is modern, so to say.
Speaker: But we're we're here to break rules and experiment and we got to get the music out on Sunday. so Exactly. Experimentation is is fun and it's important.
Speaker: Yeah. Whatever happens, happens. Yeah. Well, we are going to let people hear this in a minute. So to close out the episode, thanks again for rallying, even though you're not feeling the best today. i really appreciate it because, uh,
Speaker: This is a quick turnaround episode for me. i'm going to i'm a Maybe I'm a um a Sunday squid. I'm ah doing a mix and master directly after this and then pushing it out to the world. so Yeah, thank you for having me. I was really nervous about going on here, but it was a ton of ah fun to talk. I think you can hear my voice. I'm talking very fast. And yeah, I'm not used to talking on things like this, but it's really fun to talk about things that I love. So yeah. Thanks for having
Speaker: And yeah, thanks again for being on. And anyone else who's interested on being on, I think a lot of people come into this being like, I'm i'm a little nervous, but We're just here to shoot the shit and talk about your music. So i think everyone that comes on quickly gets over that nervous feeling once we just start talking about creating fun things.
Speaker: Yeah. And it's pretty easy to talk about your own things. so ah Exactly. Do come on. Yeah, I'm the one that should be nervous. ah You're used to this now. so I guess so. Yeah. Now that I'm, this is episode 31. So yeah.
Speaker: Yeah. All right. Well, thanks again, everyone for continuing to listen and interact on the discord. It's great to see people still interested in this and, you know, it's always fun to, um,
Speaker: showcase people that I think you should listen to more of their music. So same goes here. Go listen to the entire catalog going back to, you know, 2016.
Speaker: Don't listen to 2016. um Don't listen to 2016. Start 2018. There's only two weeks of 2016 anyway. So yeah. Oh, you talked about I meant my music. I was talking about your music. yeah Yeah. There's only two weeks of isn't 2016 the year that you only did like, ah it's 14. 2014. Okay. Okay, streak, don't listen to it.
Speaker: twenty sixteen even though you have a full shriek don't listen to it No, no, no. 2016 had 14 songs. OK. Yeah. Yeah. yeah Cool. All right.
Speaker: Thanks again. And up next is Lumina. Let's go. a good one, everyone.
