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.