420

its 420 my dudes

memes of my own making

i jus tfinishedmynewme me  of paulbolrt maullcoppp
hereare th ememesboishah a
this is m ylatest one:

here are the rest

WE DID IT REDDIT (spotify update)

YEAHHHH okay i'm done
So, new update on Spotify stuff, I've recently hit 200,000 total streams on Spotify for my "Spooky Scary Skeletons" remix! Also big news, I've hit 18,000 monthly listeners and I've broken 230 followers! At 250 followers, I'm eligible to get verified on Spotify, so this is your reminder to definitely FOLLOW ME on Spotify, so I can get verified. I'd like to extend a thank you to everyone on Spotify who has been actively listening to my music, has followed me, is a fan of my stuff, etc. You all are a big part of what I do and you have been really supportive. For those of you who find my stuff via your Discover Weekly playlist, and decide to give it a try, you are awesome and thank you! Even if most of my popular stuff is remix-based, it's still a big deal for me, because I get to live the dream of being a professional musician that I've had since I was a small child. I'm sure that if I met myself as a 5th grader, he would be really confused by my music style and accuse me of not being "metal" or tell me I've abandoned glam rock or something garbage like that, but probably still like it a lot.
Anyways, thanks so much for being the coolest people in the world! You are why I can keep doing this despite being a good deal less popular than The Living Tombstone.
Bye!

4 20 on 4 21

it's four twenty on the day 4/21

happy 4/20 (plus my memes)

I wish you all good tidings on this momentous occasion of 4/20. Hope you're all in states where it is legal to "smonk the marawanas", as they say on all the popular Facebook meme pages. Here are some of my memes that I have made, to celebrate this occasion.

MY OWN PAUL BLART MEMES (i made them, do not steal)

"why not visit" memes (not mine)

more memes (more not mine)

MORE MEMES (not mine this time)

that last post was a meme i made in photoshop. these ones are not my own, they are other people's memes. if you own these memes or know who does, let me know in the comments. i am not a meme thief, i am only sharing my meme collection with the world. do not hurt humble content creator and aggregator.

MEME

LOOK AT MY MEME

ATTENTION

If anyone who regularly reads this blog has any interest in working with me on songs/knows anyone who wants to, LET ME KNOW DOWN IN THE COMMENTS!!! Also, here's some cool stuff that might be of interest to you if you are a fan.

• I am toying with the idea of doing a tour, which would be a difficult thing to pull off without the help of a label. What I would need you to do is tell EVERYONE YOU KNOW about my music, and then tell them to tell everyone the same thing, and try to get some major traction with my stuff, because the more people who hear my music, the more likely it is that I can attempt a tour.
• Also, if you are in the business of getting shows organized, please consider helping me out with this whole thing. Not particularly antsy to get into touring, but I wanna keep my options open.

That's all. Bye!

Ideas for Projects

Hey everyone! I am EDM Side Project, and you're watching the Disney Channel *waves wand* and I've got some ideas I wanna throw out there. Let me know if you like any of them.

• One major idea I would be happy to be involved in is producing and recording and generally helping out Anthony with maybe doing a debut album of his own. I really enjoyed working with him on my track "The Forest", and I feel like it is only fair for me to return the favor by helping him out with his own project. He has not specifically said anything about doing an album of his own, but I would be happy to present the idea to him just to see if he's game.
• On that note, it would be generally interesting to be a writer/producer for another person's music project. I really like doing what I do, and it's fairly intuitive for me to apply that elsewhere. I would be really happy to work with a vocalist on recording an album. I am a songwriter and producer by profession, so making music with/for someone to sing over would be awesome. Doing a single is also fine by me. Gaining connections is important. I have been doing this professionally since earlier this school year. It's awesome that my stuff is actually getting some attention, and I'm actually looking forward to maybe working with other people in the future!
• I'm also contemplating starting a band/duo or something like that. If I were to specifically outline what I would want, I would have to go with making a metal band or a pop duo, with me doing production in both cases, and for the duo, I'd enlist the help of either another producer (a lá The Chainsmokers or Jack Ü or Daft Punk or Knife Party or Duck Sauce) or the help of a vocalist. In the case of a band, I'm a multi-instrumentalist, so it pretty much could go anywhere, from me doing guitar to bass to vocals. I'm always looking to expand what I do into other territories, as my most recent album decidedly shows.
• I really like the idea of working with another producer, so let me elaborate on that. I know another producer who goes to my school. He goes by Imperium, and he is a pretty well-established Soundcloud artist. He has not decided to take the route of using a distribution service to put his music on Spotify or iTunes or any of that good stuff, but I respect him as an artist quite a bit. We produce fairly different styles of music, and I'm pretty sure he hates me because of a song I did that made it into a video for the robotics team instead of them choosing a song (infinitely better than mine, I may add) that he did, so he's probably out of the running for people I would work with. I want to work with a fellow producer to make something much stronger than what either of us could do individually. I'm thinking like "Shelter" by Porter Robinson and Madeon or "Until You Were Gone" by The Chainsmokers and Tritonal.
• Generally speaking, I want to produce for artists, so doing a bunch of production jobs for bands and singers sounds like fun to me. I like metal and rock music, and producing metal has become a continuous job for me, so doing that sounds kinda awesome.

I don't know how interesting this is to any of you, but if you are interested in doing a project or know anyone who is interested in working with some emo teenager who's into edm, let me know in the comments. Bye!

New Project Starting Now!

Hello! I am so excited to officially announce my next project! (This will not be separate from EDM Side Project, so it's not a LEGITIMATE SIDE PROJECT at all, I'm just calling it a project for reasons you will soon find out if you keep reading). The new project is going to be a long-form, multiple-release idea exploration. The basic idea is this: a trend in EDM that I can't be the first to have noticed is that some EDM artists tend to only release one album but will, both before and after their album, release several EPs. I personally enjoy albums a lot more than EPs, but it's seemingly trendier to be lazy.
I will be undertaking a project that spans 3 EPs and 1 album. Each EP will be specifically a satire of a certain artist that has done only one album but a few EPs to go with it. The album will be a full-length satire and celebration of past and current EDM trends, from dubstep to big room house to trap to future bass.
Here is the order of the releases, with some extra information on each one:

• EP 1: "EDM Is Dead, Thanks For The Money"
• Satire of Knife Party
• I love all of the artists that I am mocking on these releases, but Knife Party really holds an important position for me. They are the artist that inspired this project the most, mainly from a satire standpoint, because their style is often comedic and takes shots at major trends in EDM culture. Their musical style is a lot of work to emulate, however I am prepared to learn all the tricks of making abrasive electro house/dubstep. The title of the EP is basically a reference to how Knife Party treats their own genre.
• EP 2: "Serious Music"
• Satire of The Chainsmokers
• I do realize that The Chainsmokers have only recently made an album, and that this doesn't necessarily reflect the future of what they may do, but as of right now, the project applies to them, so it's going to be fun. The title is a nod to the way The Chainsmokers have shifted from meme music like "#SELFIE" and "Kanye" to more serious music like "Roses", "Closer", "Paris", etc. I am, of course, well aware of the way I'm only successful because of my "Spooky Scary Skeletons" remix, which is a meme, and the fact that after that, I almost exclusively made serious, unfunny music, with an occasional splash of humor that is almost entirely ineffective, but remember that I haven't fully let go of memes as an artist. I did the "We Are Number One" trap remix, and some other remix work that is comedic in nature. I'm aware of my roots, and I want to continue making goofy music in the future. The main challenge of this project is writing lyrics and making songs that would be effective as pop hits.
• EP 3: "Ambiguously Violent"
• Satire of Skrillex
• Skrillex is definitely the first EDM producer I ever really got into, and that's why I'm so glad I can finally have an avenue to simultaneously pay tribute to him AND make fun of him. He is definitely one of my biggest influences as a producer, and the inspiration doesn't usually get expressed in my usual releases. However, this EP (named for the way Skrillex has a tendency to use pre-drop vocal samples that are vague threats or hints at violence or whatever, not usually being too direct, but just loud) is where I am paying tribute to the style of EDM that made me want to produce music in the first place. Major challenge will be learning NI Massive and Ableton Live 9, which also apply to the first EP, because to sound like Skrillex, you have to drop like him, too.
• Album: "Build, Drop, Repeat Until Trend Dies"
• Satire of most EDM artists and trends from the past 20 or so years
• Here is the big finish to the story arc that these EPs begin. The album title is a pretty Knife Party-sounding title, just based on the cynicism that Rob Swire has for most EDM. The artists I'm poking fun at here are almost uncountable. It makes fun of and pays tribute to everything, from Martin Garrix and Hardwell to Daft Punk and deadmau5. It will even have tracks that poke fun at my own body of work. It will go into territories of taking shots at Excision, Flux Pavilion, DJ Snake, Major Lazer, Steve Aoki, Dillon Francis, Swedish House Mafia, David Guetta, Avicii, and many others. The main challenges are the sheer multitude of things I want to do here, the songwriting, the likelihood of VOCAL FEATURES, and pretty much any other thing that is difficult when exploring other music styles.

Basically, this album will be difficult and unusual. It will be a long project to complete. It will be intense, yet rewarding to finish. I am prepared to do a lot of work on this. I know the project is not very original, nor is it actually that brilliant, but it is just too much fun for me to resist doing it. I'm excited, hope you all are as well.

In the meantime, make sure you go check out my new album "The Forest" on all online music stores/streaming platforms!

Bye!

Interesting Facts

It is already well-established that I am only successful because of my "Spooky Scary Skeletons" remix. My popularity within the meme community is apparently bigger than I thought, though, and I am now trawling Spotify to figure out what happened, and I've discovered what originally happened. My initial burst of success was, apparently, being featured in the Spotify Discover weekly playlist. Somehow, my song was featured on the number one playlist on Spotify. That playlist is a highly coveted position for any artist, and somehow, with no major label money to help me out, and only the organic hype contributed by the online meme community, I was able to get "Spooky Scary Skeletons" up there with the big guys. This is obviously a major feat. I didn't even find out that it happened until almost 5 months later, when I saw my Spotify stats and thought "Hmm. That's cool. Wait, what happened there when I got a massive slope up in monthly listeners?"
Since there is no way to get all the info on what happened with the Discover Weekly playlist, here are some other existing playlists that feature the track as of right now.

• https://open.spotify.com/user/1111903839/playlist/4PSDTjTfadh4zqk1z6CsNF
• https://open.spotify.com/user/l%C3%BCrtz1/playlist/4UP1egb7bs39eMLjqwipU5
• https://open.spotify.com/user/227vlhxghckt7jnvdvkbdq2zi/playlist/7oLjZWus6xOp6yYjEXQiGU

I don't know of any others, but if you find any, then by all means, TELL ME so that I can post them here!

Bye!

THE FOREST IS OUT NOW + Track Rundown & Song Meanings

My new album "The Forest" is out online now! To celebrate, I will give a track rundown.

First things first, I should sum up what the album's concept is. Basically, the album is a concept album about government overreach and the idea of escapism (that first one is only kind of a joke, because it's ridiculous to have an EDM album about that topic, but the lyrics are pretty much about that). It's a dystopian future where everyone is being watched, and only a few people are actually dissatisfied with the situation. "The Forest" in question represents any one of a variety of things people use to escape their problems and just feel happy again. Mainly, it's music, but the great thing about the forest is that it's not really meant to be anything too specific, so you can apply whatever meaning is most relatable to you personally.

• This Is 1984 (Vocal Edit)
• This is the first track that I ever wrote lyrics to. However, on my first album, I did not include the vocals on the version of the track that was on the album. This version has the vocals that I recorded and was immediately unhappy with, but I figured out how to use a vocoder, and I fed the vocals through a vocoder and it sounds a thousand times better. The lyrics are basically about a dystopian society, where the citizens are being constantly watched and recorded via surveillance. The lyrics are about a lot of things, but the main ideas are government overreach, helicopter parenting, dictatorships, the feeling of hopelessness, and corruption. This is the first song I ever did vocals for, which is awesome, but I think the biggest artistic change for me was on the title track of this album.
• Genres: electronic rock, electro house, progressive house, trance/house, French house
• Utopia (Dystopia)
• This track is supposed to be a corporate, cold, unemotional, fake sounding elevator music track of the very distant future, where anything future bass or trap inspired is automatically used. The track is meant to suggest trustworthiness, and it is supposed to cover up all the issues with the society. As the track finishes, it switches to a noisy, dark, mechanical nightmare with alarms and beeping sounds, which is a glimpse into the reality of the society in the album. Despite it being intended to have a plastic and dead sound, it still manages to be one of my favorite tracks on the album, even though it's insanely sad when the meaning is revealed. If you listen closely, there are two parts in the song that use a sample of Anthony Frederickson doing whistle tone singing, the second time I sampled that video in a song. The first one was on "Danger".
• Genres: (Part One) future bass, trap, soul, ambient, lounge, MIDI, video game music (Part Two) glitch, noise, dark ambient, sound art
• Robots
• One of my personal favorites. This track is pretty much just a sonic representation of the various tactics the government is using to keep everyone in line, from security cameras to drones. The track originally was written for and included in my robotics team's 2017 Chairman's Award video (team: Beak Squad 4028). I added a little bit more to the song and it was the first track that got completed for the album, long before I made the album as conceptual as it is.
• Genres: electro house, complextro, glitch house, progressive house
• Danger
• Here, we have the official record for the most samples used in a track. The track is basically just a further look into the violent acts that the government is carrying out. There are two people sampled on the track. The one that is the most awesome is the siren noise, which is just taken from the whistle tone sample from Anthony. This track was actually the reason he approached me about singing on an actual track. One of my friends told him about the sample and then sent him a Soundcloud link (I had to send the Soundcloud link to my friend because I was thinking that Anthony would hate it, but he didn't, for some reason). About two minutes after the link was sent, I got a reply from my friend telling me Anthony wanted my number, and I consented to this demand, again getting ready to have a heated phone conversation and try to calm him down because I wasn't sure if he would react well to the track. About 10-20 seconds later, *BUZZ* and it's from Anthony, saying that he liked the track and wanted to sing on a track. I then wrote the lyrics to "The Forest" in under an hour, which is usually impossible for me to do anyways, much less in under an hour. The other sample is a sample of Austin Dickey of the band For the Likes of You and TheDickeyDinesShow on YouTube. I took a sample of him in an episode of "Dining with Dickey" and put it before the drop, after getting his permission over Twitter.
• Genres: trap, EDM, instrumental hip hop
• We Will Find You
• Okay, this is the part where the album starts to get weird for a little bit. This track is basically just the main characters evading capture and death from the government's abuse of power. This track is also the first track I ever wrote on my new Schecter Demon-7. Seven string guitar, sounds amazing, Seymour Duncan pickups, awesome. The guitar is in B standard tuning for the song. I wanted the track have some industrial rock riffing in it, and I came up with the opening/closing lead part out of nowhere while I was messing around with the guitar. The line "Cameras are shutting off" basically means that the surveillance cameras are going down, but it is being announced because the borders of the city close 15 minutes after the cameras go off. This becomes extremely important about 2 tracks later on the album.
• Genres: electronic rock, metal, industrial metal, groove metal, alternative metal, alt rock
• The Desert
• Yet another weird cut on the album. This is definitely one of my best tracks on the album, along with "Buzz Saw", "This Is 1984", "The Forest", "Utopia (Dystopia)", and "Robots". I love this song because it's a weird idea, but it's so effective. The song is about the characters dealing with isolation and planning their escape, as well as the process of traveling around to find other people to bring with them, and gathering supplies. The song itself is basically my nod to The Beatles' "Sgt. Pepper", which has a track around halfway through the album called "Within You, Without You", which is a song mostly on sitar. The song started out as a sitar track with some extra flourishes using a dulcimer emulator. Then, I decided to increase the tempo from 100 to 128 bpm, and then added a house beat with a sidechain, and some pumping bass. Immediately, the track became more dynamic and mysterious. For some reason, the sound of a sitar mixed with EDM instruments is one of the most striking sounds I've ever done. The scale I'm using is (probably, not definitely, please check my work for me) C Phrygian.
• Genres: raga rock, Indian classical, classical crossover, Middle Eastern traditional, electro house, progressive rock, psychedelic rock, progressive house, outsider house, experimental house
• The Forest feat. Anthony Frederickson
• Finally, we have reached the most awesome track on the album by pretty much any standards. I have other favorites, but this one is the one track on the album that took the longest and was the most rewarding and fun song to hear completed. This song is the characters discovering and entering The Forest. The forest is an illegal rave, outside the boundaries of the city, that the characters escape to by taking advantage of the fact that the borders close 15 or so minutes after the cameras deactivate. They enter the illegal forest rave, and immediately wish they had done it years ago. Everyone has a "forest" that they use to deal with their problems, which could be any form of escapism or coping mechanism. Also, the second verse begins with 4 lines that are hinting at the rave being a sanctuary for racial minorities and the LGBTQ+ community, the latter of which is directly meaningful to both myself (as a bisexual), and to some of my close friends who are also part of that community, and the former of which is meaningful to a lot of other close friends and to a pretty large amount of people in the world. The forest is a safe place to just forget all the problems with life in a minority group, and just dance and feel accepted. I'm very proud of this song in pretty much every way, because it's the first time I've sung, unfiltered by a vocoder, on a track which I wrote myself, and actually released it. "This Is 1984" doesn't count, because I hid under a vocoder on that track.
• Genres: progressive house, electro house, uplifting trance/house, synthpop, electropop, pop music, dancepop, EDM, a slight deep house influence on the piano rhythm
• Buzz Saw
• Finally, the album is at the part where the rave goes into full swing. The DJ is playing some original tracks, and the first one that plays is a heavy trap/moombahcore banger. The rest of the album is pretty much like this, where the songs are just the progression of how the night goes in terms of music. The track is influenced by Dillon Francis' style of moombahcore and trap music. Also, the most amazing part is that the drop has another sample from Dining with Dickey's Austin Dickey, which he actually personally authorized and encouraged me to do over Twitter. "OFF THE FLOOR" is the drop callout, essentially meaning "JUMP THE F*!# UP!".
• Genres: moombahcore, trap, electro house, EDM
• U.F.O.
• This track is not my finest work. It's decent, but it's not my favorite on the album by any measure. The track is a satire of how popular deep house is and has been for quite some time. I'm not a huge deep house fan, in case that wasn't immediately obvious considering everything else I make. I mixed the style of deep house with my usual electro house sound. That takes the edge off the deep house a little bit for me.
• Genres: deep house, electro house, progressive house, future house
• Holland, 1945
• This is a cover of a Neutral Milk Hotel song. The original song is a lo-fi, indie, folk punk song with a really big horns section and fuzzy acoustic guitars. I changed the style of the track to be more punk than folk, and become more pop punk. The idea of this track is basically that the DJ is taking a break, and the main characters go up and use the available equipment to play a song of their own. They choose a song that's about Anne Frank, which is weird, but that's the charm of NMH.
• Genres: pop punk, Americana, lo-fi, folk punk, melodic hardcore, hard rock, alternative rock, indie rock
• Mashup
• The DJ has returned. He does what any good DJ does, and finishes with a mashup of a bunch of EDM tracks. It's basically a satire of mashups in DJ and EDM culture, where instead of making an original piece, they will just steal a bunch of popular tracks and edit them together to make filler. I chose to use a bunch of my own tracks, so I don't get sued. I used a bunch of snippets of my personal favorites in my discography, based on what fit together.
• Genres: electro house, big room house, progressive house, remix, mashup, complextro, glitch house, Dutch house, EDM

And that's all! Thanks for reading, and in closing, I enjoyed making this album, and I hope you all enjoy hearing it! Bye!

IMPORTANT INFO FOR EDM PRODUCERS

Guys, if you ever want to produce dubstep or sound like Skrillex, please read this:
If you are looking for a VST that does a lot and has good LFO capabilities, stop searching right now and just get Massive by Native Instruments. Trust me when I say it is the only truly effective synth for just about all things in dubstep, from leads to bass. I cannot stress enough that no matter what you have heard about Massive being unoriginal or overused, it is easily the perfect solution to the problems of unoriginality. People who call it overused have not fully explored the plugin menu.

nobody reads these

Hey! If you are still paying attention to this blog, I suggest that you follow my Tumblr and Twitter. I also have an official EDM Side Project Tumblr page. I post a lot more on those sites than I do here. 

Bye!

Quick Thoughts

Here's some quick thoughts on some of my music:
First of all, I just went into the Logic Pro X files for a few of my songs, and I decided to look at the "Score" feature. What this does is it displays the sheet music for all of the MIDI notes in the song in the form of a score. I am able to look at these songs as a musical score, which makes it (potentially) possible for a school band or any musician to be able to make a fully orchestrated version of any of my songs if they requested sheet music. Obviously, I would have to modify the score for the samples and drum kits, because it displays every drum hit as a certain note. This makes it slightly harder to be accurate. Also, any loops I decide to use don't get transcribed, which is actually fine, because it shouldn't be too difficult to transcribe to MIDI. However, the various effects I use are not able to be accurately reproduced, such as a riser. The "Endless Riser" preset in Logic Pro is a synth riser that slowly pitches up across 8 to 12 bars depending on my usage of it. Of course, you could just use a trombone for that. Or a slide whistle. Or a controlled, slow, glissando on harp. That's all for today. Bye!

Cool Songs I Recommend

Hey guys! I am here to give you some quick song recommendations, or at least some songs that I like right now.
"Closer", "Roses", and "Paris" by The Chainsmokers
"The Saw is the Law" and "Breeding Violence" by Whitechapel
"Holland, 1945" and "In The Aeroplane Over The Sea" by Neutral Milk Hotel
"Cherub Rock" and "Bullet With Butterfly Wings" by The Smashing Pumpkins
"Epic" by Faith No More
"Snow (Hey Oh)", "Dani California", and "Can't Stop" by Red Hot Chili Peppers
"Heart Shaped Box" and "Smells Like Teen Spirit" by Nirvana
Anything on the Gold Skies EP by Martin Garrix
"Toulouse" by Nicky Romero
"Cirice", "From the Pinnacle to the Pit", and "He Is" by Ghost
"Physical Education" and "CAFO" by Animals As Leaders
"Machine" and "Divergency" by Born of Osiris
"Laid to Rest" and "Now You've Got Something to Die For" by Lamb of God
"Welcome to the Black Parade", "I'm Not Okay (I Promise)", "House of Wolves", "Famous Last Words", "Teenagers", "Mama", "The Ghost Of You", "Helena", "Na Na Na", "Sing", etc. etc. by My Chemical Romance
"Dance, Dance", "This Ain't a Scene, It's an Arms Race", "Uma Thurman", "Sugar, We're Goin' Down", etc. by Fall Out Boy
"Miss Jackson", "I Write Sins Not Tragedies", "Don't Threaten Me With A Good Time", "LA Devotee", "Victorious", "Nine in the Afternoon", "Mad as Rabbits", "The Ballad of Mona Lisa", and "Emperor's New Clothes" by Panic! At The Disco
"Forced Gender Reassignment" and "A Living, Breathing Piece of Defecating Meat" by Cattle Decapitation

I'll update this list as more come to me, but for now, that's all! Bye!

THE INCREDIBLE MUSICAL FESTIVAL TOUR album out now (Details)

Hello ghosts and tumbleweeds! It is I, EDM Side Project, the YouTube user who discovered that making music is actually pretty jam. I am releasing a new album which dropped on iTunes this morning, and will be on other things soon. The new album is called The Incredible Musical Festival Tour, and it utilizes all the new tips and tricks in music production that I have learned since releasing This Is 1984. Here is another TRACK RUNDOWN for you guys! I will be explaining the inspiration or story behind each song.
Before anything else, I should probably explain the album's concept. The concept is similar in structure to "Sgt. Pepper's Lonely Hearts Club Band" or "Magical Mystery Tour" by The Beatles. The basic idea is that it is structured like a small-scale music festival with all of the styles of music that I make: electro house, metal/djent, trap, dubstep, etc. I made the album as an homage to The Beatles' way of making such a successful album with a crap ton of weird ideas going on. Not to say that this album is a modern Sgt. Pepper, or that it's really experimental. It's just a fun album with a theme. I will go more in depth on this later, but I digress.
Anyways, Here We Go!™:

• Intro
• "Hello everyone, and welcome to The Incredible Musical Festival Tour. Make sure to get merchandise after the show. If you are hungry you can go buy insanely overpriced food. You are about to witness the greatest performance of all time. There will be dance music, metal, rock, experimental, jazz, mashup, remix. If you have a seat, please go to your seat. If you are on the floor in front of the stage, please continue walking around until music starts playing. Thank you for coming, and we hope you enjoy." This pretty accurately encapsulates the album's theme, minus the promise of mashups, which aren't legally okay unless I personally got in contact with the producers of LazyTown and figured out a deal. I did include a sneaky sample at one point towards the end of the album, which I will discuss later.
• Genres: interlude, ambient, sound art
• Plants As Overlords
• There are a lot of things going on in this track. The basic idea was inspired by a Jared Dines video in which he combines genres in weird ways. One of them was a combination of djent and jazz, or "djazz." I thought it sounded cool, because he was using jazz chords to play djent rhythm patterns, which I immediately picked up on as being a good idea, so I decided to write a song with that type of sound. Of course, I unintentionally wound up sounding like Animals as Leaders because I didn't realize that they are literally a djazz band. I decided to run with it by adding a solo with tapping and shredding. Cool. This song and the next song are meant to be forming the set of the first band to play in the festival. They are a djent band, currently nameless, but I am trying to come up with a good name. By the way, all these bands are fictional, meaning that they only exist in the mythology of my albums.
• Genres: djent, jazz fusion, shred, noise rock, "djazz", progressive metal, heavy metal, groove metal
• Djent of the Sugarplum Fairy
• This song was explained pretty accurately in the music video, so if you want to know any more about this song, all I can say is that inspiration struck while watching tv. Commercial comes on with Dance of the Sugarplum Fairy, so I wrote a metal song out of it. This is also by the same fictional band that did the previous song.
• Genres: djent, Christmas music, classical crossover, symphonic metal, progressive metal, classical, groove metal
• Crush The Opposition
• This song is a pretty crappy dubstep song. Not much else to say here, other than the fact that it took a really long time to make. The fictional artist that did this song is a dubstep/EDM producer who will probably get a name at some point soon.
• Genres: dubstep, 2-step garage
• Throwback
• Title refers to the fact that I used a production technique that I actually was using on some of my first songs. This song is for a YouTube series that a friend is doing. In the mythology of the album, it is written by the same artist as the previous one.
• Genres: brostep, dubstep, complextro
• Classically Trained Beat
• No real explanation, basically I decided that I wanted to make another beat and it turned out pretty well. This one is by the same dubstep/EDM producer as the last two.
• Genres: trap, instrumental hip hop, classical crossover
• Space Battle
• This song marks a milestone in my career, because it was the first one I produced in Logic Pro, and it was pretty crappy when I first did it, because I was new to the software and had just started making that type of music. This song is meant to be the headlining act, and it is EDM Side Project (aka Me), in the mythology of my album.
• Genres: big room house, complextro, noise, progressive house, electro house
• Emotional Support
• This is a trance-inspired house song that I did a few months ago for a smaller project, and it turned into a bigger thing than it started out as because it made sense in the structure of the album. This one is also by EDM Side Project in the album's concept.
• Genres: progressive house, uplifting trance, electro house
• We Want an Encore
• The crowd cheers because the EDM Side Project performance wasn't long enough for a headlining act. Trap music starts playing to signify the return of the headliner.
• Genres: trap, ambient, sound art, interlude
• Fatal Error
• EDM Side Project returns to the stage, initially faking out the audience with a different intro to an older song, then the synth riff plays, and it all is revealed as the old song Fatal Error, which I originally wrote last year not long before summer started, and I completely rebuilt the song from the ground up in November 2016. The sample before the drop is from the video "Another Sleepless Night with Phil" by AmazingPhil. In the video, he takes off his contact lenses, and then spins around while putting on his eyeglasses, resulting in him kicking a glass door in his bathroom, which made an insanely cool sound. I immediately grabbed the sample and put it before the drop and then at the end of the song, but made longer to provide context. The song contains my favorite synth pattern I have ever written.
• Genre: big room house, electro house, EDM, progressive house
• Think Fast
• EDM Side Project plays one last song. It is totally new and nobody has heard it before. If I could put out radio singles from this album, they would be "Djent of the Sugarplum Fairy", "Fatal Error", and this song. This song was the one I completed the most recently, and the story behind it is a bit odd. This song started with me writing an electro house version of "All Star" by Smash Mouth, but the song worked well enough on its own, so I removed the All Star vocals and made the song better. This one sounds pretty generic, but I really like it.
• Genres: electro house, progressive house

That should be it! Thanks for reading!

"This Is 1984" TRACK RUNDOWN

Hey guys! So I figured I would give a quick explanation of the tracks on my debut album. Here we go!

• This Is 1984
• The title track, as well as one of my favorite songs on the album. The song originally had lyrics about the George Orwell novel 1984 and the culture of surveillance that exists both in the book and in the real world. I took it more from the angle of the paranoia that it causes and how it is generally a nuisance. I removed the vocals for two reasons: a) they sounded terrible, and b) the song worked better without vocals anyways (UPDATE: I have since released a version of the song that has the vocals processed through a vocoder, and it is on my new album "The Forest"). As for the sound of the song, I would compare it to a mix of deadmau5, Martin Garrix, and Tiësto. Very trancey drop, but the bassline on the verses (which were added back in on the version from "The Forest") takes a heavy inspiration from the song "Professional Griefers" by deadmau5 and Gerard Way, and the synth riff itself is heavily influenced by Martin Garrix's style of synth lead; i.e., anthemic saw wave synths and chords.
• Genres: progressive house, Dutch house, electronic rock, electro house, trance/house
• Spooky Scary Skeletons
• I did this track because I had the Living Tombstone remix of the song stuck in my head, as well as the original version. The whole thing was released on a small scale during the summer, then revised several times until it sounded tolerable. This track is a relic of the days when I made big room house with the Pryda snare sample. Very 3 years ago, despite the fact that it is the most popular song on the album according to the ratings on iTunes.
• Genres: big room house, Halloween music, progressive house, electro house, remix, mashup, meme music
• It Took the Night to Believe
• The song is a cover of a song by the legendary drone metal band Sunn O))). The original song has no drums, so I added drums because without drums it's impossible to listen to. Drums contribute heaviness. FUN FACT: The only part that I played on a regular guitar was the lead part that's really high pitched. Everything else that sounds like a guitar is played on bass, and I also used a Logic Pro plugin called Monster Bass, which is the crunchy sound in the central channel. I recorded 4 different vocal takes using a variety of techniques, and I did something that you should NEVER DO: I inhale growled, which is an advanced technique that you shouldn't do because it messes up your voice if you do it wrong. Don't inhale.
• Genres: drone metal, doom metal, experimental metal, electronic metal
• Megalovania
• You know that one song from Undertale that everyone likes? I did an entire album which musically chronicled the storyline of Romeo and Juliet, and the only comment on the video was a request to make a remix of that one song from Undertale that everyone likes. I spent around a week making a MIDI file of the song from scratch, and then added some extra stuff. I continued to improve on the song until it reached the point where I added guitar and pitch wobbles.
• Genres: video game music, MIDI, bitpop, trap, future bass, house, electronic rock, progressive rock/metal/house
• Rave Wave
• Again, this song, for me at least, was one of the forgotten heroes of the album. I love this track a lot, because it really showcases a major shift in my musical style, changing from 2014-era big room house to a less anthemic progressive house, but with a very big room-type drop, minus the snare sample. I am very fond of the track because it marks one of the biggest stylistic changes in my music. I later changed the drop, rise, drum kit, and deleted a synthesizer part. FUTURE PETE HERE! During production for "The Forest", I made a song called "Mashup", and I have also been consistently revising it for a live version. This song has a lot melodically in common with "Levels" by Avicii, just based on the chords, so it overlaps in the mashup song.
• Genres: progressive house, electro house, big room house, trance/house
• Djent Trap
• This is a song that began a trend for me, which is doing an entire song in a very brief time period. I started the song at around 10 AM and completed it at around 1:30 PM. I have continued doing these songs very fast, including a subtle 2 hours to make the "We Are Number One" remix, and 2 days to finish a ground-up rebuild of an older song. Djent Trap is a song that arose after I got inspired by watching Epic Rap Battles of History, and hearing some of the beats that are used. I wanted to make an entertaining, yet experimental beat. I started with the trap rhythm and built onto it by adding a lead guitar part, violins, and 3 djent/deathcore-style breakdowns.
• Genres: trap, instrumental hip hop, djent, deathcore, metal, classical crossover, EDM
• Final Boss
• This track started out as me trying to do something more progressive than I normally would have done at the time, and it was my first song to start to branch away from my big room house style that I was doing previously. I had been listening to some progressive house, and I wanted to do a complextro-type track. The track became one of my favorites very quickly, and I regard that song as a predecessor to Rave Wave, because it led to me making different music than what I had been doing prior to Final Boss.
• Genres: progressive house, complextro, electro house, glitch house, big room house

That's all the tracks! I feel like I shouldn't have to explain "Djent of the Sugarplum Fairy" because I did it in the music video. I have some more music coming soon, potentially a new album! As usual, the album will be a mix of metal and EDM, which was the original concept behind EDM Side Project. I designed this whole project to be a mix of different styles, mainly to increase the likelihood that listeners will find something they might enjoy, which is why I do metal songs (mainly to fulfill my dream of doing metal music) as well as mainstream EDM bangers (because I enjoy both listening to AND producing that style of music).

Bye!