This is somewhat my way to push tutorial, however I don't want to dictate how people should make music, and more of an explanation of how and why I make music certain ways.
A - I don't build stories, I build worlds
As must as we reject or water it down, as of today the recorded audio is still a linear experience. Stories are linear and predictable. So I would like my music to be non-linear by designing each song a unique experience, yet familiar. I employed various innovative techniques developed specifically for my production from structure, arrangement, sound design, to mixing and mastering. I will go in-depth in the stuff below.
I admit not many one-time listeners like my unorthodox production, however those who are long time followers of mine often enjoy analyzing the production, which is something that I always cherish and respect my fans for that.
Another thing is why I build worlds, I don't dictate my listener of how they are going to percept and interpret my tracks. My stuff might have my own personal messages, but they are often symbolic. I have read 10 reviews of the same track with slightly different interpretations of my song, and that's the freedom everyone should respect their listeners.
Late Stage Happytalism
B - Sonic Illusions and Psychological Effects
If you have been an avid fan of my music, you might have noticed that I often employ shepard tones into my production, specifically percussion programming. It's just one of my many signature exploration of sonic illusions on the path to create more and more interesting sounds.
Another example, I often use pseudo-linear and repetitive patterns to fool listener into believing the arrangement was always the same, however I slowly sneak in minor instruments that are barely noticeable, yet your ears automatically registered that it's there so you hook onto the pace. I also introduce very twist and unannounced transitions as if they are completely separated parts. Thus makes the sounds work ironically yet seemingly, only because your brain was told that it should be like this.
C - Diversity, not harmony
Often cinematic composers include different instruments to create balance and harmony. I do the opposite. I create diversity and aim to tip the balance. There are parts in some of my production with over 50 instruments going on in a single bar. Yet they all work seemingly well. Over years, I have learned that diversity always trumps law-abided theory-following production.
It's not chaos. Chaos is random. Diversity is full and welcoming.
D - Non-conformity
I never went to any school or training for music composition. I'd probably fail first grade music theory than a 5 years old kid taking conservatory music class. But precisely that weakness makes it my greatest strength. It enables me to explore, experiment and expand my sounds as much as possible. I don't know the names of any chord, progression, tone or scale, but I know how and why they work. I know how to utilize them, bending and twisting them the way I wanted. I often employ unique yet familar motifs in all my melodical works.
E - Symbolism & Educational
I did mentioned that I don't dictate what people interpret my music, that is true, however for personal preference I often include certain topics about what and why I made the track. Those topics are meant to be educational and thought provoking. Sadly NG comment system is limited and listeners don't have further chance to discuss the topics right at the track.
I value symbols of the instruments, arragements, sound designs and aspects that utilized in my works. Every sound in my work always stands for something I want to speak about. The ways they interact with each other often the indication of the symbols I would like to discuss about. In a way, every work of mine are a mini chemist laboratory with a dip of political science. Thus, why I build worlds and not stories.
Down The Memory Lane Where The Sun Never Set