"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!