CATCH 2 NEW RELEASES LIGHTSPLITTER AND FORAY ON PLATINUM RADIO LONDON DNB SHOW
Tune into DJ Climpo’s drum & bass show, recorded live on Platinum Radio London – featuring my newest singles, Lightsplitter and Foray. Catch me at 52:00, howbowdat.
Release Date: 10th May 2019
Foray began with the concept of initial exploration into unfamiliar territory. We all are faced with moments in life when we must choose to face the unfamiliar and learn, or stay within our comfort zone. They are often difficult moments, such as when we need to begin to practice a skill we have never done before, but it has to start somewhere. So it has a lot of glitchy sounds to communicate this discomfort and sort of randomness.
This track was the first collaboration with a rapper, and the first time playing around with glitch, trap, and dnb elements in a track, leaning away from the all-familiar dnb tropes and hopefully into something a bit fresh to the listeners ears. Osiris Marshall lent some powerful, even a bit psychadelic lyrics to an askew drum beat. Everything about this track stretched and reached for an undiscovered place.
I didn’t originally intend for it to be an actual ‘song’ at first. The usual thing to do with this type of dance music is to repeat some very simple vocal line, chop it up, make it sparse. But i didn’t give any direction to Osiris because I really wanted him to own this creatively and put in all of his creative energy. What he sent back is 100% what ended up in the track. i didn’t edit out anything, but i did add a bunch of distortion to everything, and glitchy effects to the adlibs.
I don’t have any other tracks quite like this in the pipeline at the moment. To me it stands apart from all the rest of my work, as collaborations probably should. I love the aspect of collaboration that is the coming together of several personalities. Osiris has been firmly rooted in his own style of hip-hop and he admitted this was a different style than what he was used to rapping over. So for both of us it was an incursion into uncharted territory. And it turned out awesome, i think.
Given that this is a really dope sound imo, I’m going to be looking into how I can incorporate full song rapping such as this into future live performances that are part of a larger DJ set.
It’s been a week since I dropped my first track, Lightsplitter, and I’ve had some time to reflect now that the dust has settled. I never knew how much I didn’t know about the business side of music. For a long time simply making music kept me happy enough, but it occurred to me that art is not really art if nobody hears it. So it became my duty to force myself to commit to a social posting schedule, handle problems with my distributor, learn Photoshop and Premier, and more. I had to quickly learn a lot to get this release out, all while holding down a more than full time day job. It’s a lot to confront, for anybody starting out in this industry. I’ll share with you my inspiration for the track, which was important enough for me to go through all of this to share with you, and some of the things that you run into when you’re an independent musician.
The inspiration behind this release was an concept. I wanted to give the listener a feeling of being next to something so fast and powerful it could split light (photons). The name lightsplitter also has a few other meanings I felt contributed to the concept, such as the idea of a prism splitting light into multiple colors, and the “double slit” experiment which proved light could be a wave or a particle, depending on an observer.
It was a totally solo project. I believe this is something noteworthy, because I did everything from designing all the sounds myself, to doing the mixing/mastering myself. I had total control over the entire process to ensure that nothing altered this original concept. This is the way I normally work, and how my upcoming releases were made as well.
I wanted the track to work well on a dance floor yet be interesting and dynamic when played over streaming platforms, so I made two separate masters, one loud one that will only sound good without any kind of loudness management algorithm, like in a club. The other is a dynamic master with lots of peaks and troughs in the volume, that will sound best over streaming platforms like Spotify and in iTunes. The loud ones are at Beatport and Juno, and every other store has the dynamic version.
I used Ditto music distribution services, since they are the only ones who claim to be able to get you on Beatport without a label. In retrospect I may have been better off with a label because it’s been a week since the release date and Lightsplitter is still not up on Beatport. I’m working with customer service but they are quite slow.
I spent weeks stressing and grinding to get this release to come off as perfectly as possible. Ditto was not holding my hand so I was on constant alert, making sure everything was being done correctly on their end. Photo shoots, press releases, social media post schedule, artwork, video creation, Photoshop and Premier editing, these things aren’t free, and take a substantial amount of time and energy.
I believe there comes a point at which many artists put so much into their work yet the universe puts so many barriers up and tells them over and over again to give up, so they do. I am not that guy, but I have felt that pressure daily. Lightsplitter embodies that attitude of pushing through despite all obstacles. Go get your dreams guys!