So this year I came out with an album Poundtown. I've been a DJ and producer for a few years and this is my second fully independent release after Muses. I usually don't tell people what my tracks are about because I like people to make up their own stories and tell me what they mean. But if you'd like to read, I'll talk you through what was going through my head.
It's funny, I'd say both projects are about love and sex but different kinds. The tracks in Muses are about a pure, new love. One that is new. That's why I chose so many trance tracks. Trance is like closing your eyes and dreaming, its like a part of my soul that i take everywhere with me. its my drug and my passion. An escape from reality while at the same time makes you feel connected to everything and everyone around you. It’s pure and it’s beautiful.
It's also why it featured one of my first vocal tracks with "Middle of Sea" which was the first track of Muses. It's all about proclaiming that pure feeling when you just don't care what you look like or sound like.
Poundtown is different, it's after Muses, it's over and done with the Muses shit. It's not bitter or angry, it's just moved on and is ready to travel and get into new things. It's bassier hence the name "poundtown". It's not afraid to shake some floors and doors. It also reflects a love of many genres of edm like how we can love many different people for many reasons. Our first track here has something to say but it's all about freedom with Fly Away. It's more mature, it's packed it's shit, moved out, unpacked and ready to hit the town. Very chicago.
This brings us to Candy a future bass track that's meant to invoke the feeling of walking down the boardwalk, as a free man, looking at all the girls going by, and all the thoughts that go through a man's head looking at those kinds of sights.
Maybe this man sees an old friend of the flame from Muses or her sister and it's in an entirely new context now being a free man. They can talk together, ride the ferris wheel enjoy some cotton candy. Maybe they arrange to go to a local club together.
Which brings us to Hips of Babylon something VERY different than what's on Muses. Maybe that old flame wasn't into hip hop and EDM, maybe she thought twerking was "trashy" but the free nature of Poundtown allows us to explore all kinds of new sounds and feelings. Dirty, sweaty, in the middle of the club, so close you're practically fucking on the dance floor. Holding each other thrusting passionately.
The title is also a reference to an anime.
Around You is the second vocal track on the album featuring a female vocalist in a house style, it's a new perspective and it's all about feeling comfortable in your own skin around someone. It's like later in that club after Hips of Babylon you've calmed down had some drinks and you're feeling really familiar.
At our title track "Poundtown" it'sa big room house track like that rush when you're going home and you can't keep your hands off of each other, on the train, falling into alleys and revolving doors shoving your hands into each others pants. Every step is excitement and anticipation and you're wondering why you haven't done this before?
Doin it critical is a trance track too obvious to say a lot about it, it's about when you finally got home and you're just going hard in the paint so to speak.
This Cannot Continue is like that ex from muses saw ya'll on instagram, heard about ya'll in the streets and now she's busted in to the place. Just being ultra dramatic, the old and new on a collision course and you're hiding, svelte footwork just keeping your presence from being discovered. This cannot continue though, this relationship, this friendship, the deception, something's going to have to give this drama like this album's big room house section has reached a crescendo.
Pistol Nebula is a dubstep track. It's that time of the night. Too early to go home but you had to get the hell up out of there you're walking the streets, smoking a spliff, going through your numbers. That girl from Muses thought you deleted all the girls numbers you know but you low key got them in the cloud and even if she found out about that you got geotagged backups buried. You hit up someone strange you haven't talked to in a minute and decide to meet up at an illegal after hours spot. It's the "after dark" counterpart to "Fly Away". Alone and confused instead of brave and decisive.
Another One is another dubstep track with that underground kind of sound I like in places built out of cement. It's kind of like Candy's darker cousin in theme. The boardwalk replaced by an underground tunnel, cotton candy replaced by nitrous balloons, that desire for freedom has become a desire to take any pill passed to you in a place that isn't even well lit enough to see what it is. It just wants to rage with deep bass riddim.
Back At 'Em is full on transformers having sex dubstep and it's unapologetically pounding it's nose full of molly and coke filling it's mouth with booze and grabbing on anything, it can barely remember the girl that called him out and they all look like her right now to him. Who cares were single we can bump dubstep and hook up with whoever we want. It's the "After-Dark" counterpart to Hips of Babylon.
Bang is just having a great time, he's not sure if it's the girl he called or not and she's not sure if she knows him or not but they are getting busy in the middle of this after hours. Everything else is something to worry about a little later on. It's the "after-dark" counterpart to Poundtown. These tracks exploring the same feelings in different ways.
Shapes is really enjoying the nightlife with it's newfound freedom it's the peak of our dubstep section.
Stacks is so fucked up it doesn't realize it has the same intro as shapes. It's something trollishly done to fuck up somebody high. It's also realizing that girl he hooked up with before wasn't his friend he called at all because he just met her. It's all an exercise in repetition. Are you sure it's a new track? Are you sure this is actually the girl you called? Our heart rate and tempo are up a bit because we don't want her to find out about shapes. Both of these tracks being the darker cousins of "doin it critical"
Supergiant isa drumstep track just about going home with someone weird and bohemian, with a dirty bong in the middle of the room, magazines and papers all over the place, she doesn't give a shit. She's graffiti'd the walls, has some random shit to take with you...2cb or something, ketamine, fuck it you're taking it and getting busy.
heat death is a drumstep morning afterglow. Featuring the themes and motifs of "This Cannot Continue" in a brighter light. You've died and been reborn again a free man. Forget what your ex and her friend are fighting about on facebook, who the hell that other girl was, you're getting your shit and enjoying a new sunrise.
The rest of the tracks are bonus tracks
A remix of Middle of Sea that's a trap subversion of it.
An 80's Remix of Fly Away
and a remix of Back At 'Em with me scratching throughout it.
Well that was probably the dumbest thing you've ever read, at no point during this did I form a coherent thought or come anywhere close to making a point. I'm musically illiterate, the world's worst writer and an awful human being and I'm sorry for having wasted your time but thank you for reading!
If you disagree with that feel free to give me a follow here, on spotify and buying albums from that bandcamp I linked so often helps me pay bills! Plus the entire discography is on sale which includes The album, the EP, and some other tracks!
Seriously thanks.
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