People always tell me when I get frustrated working on things since I can’t come up with lyrics or muster up the courage to sing like “why don’t you get someone else to sing on it”

Idk in a way it just means something special to me to be able to sing on my own track, my own words coming from my own voice? It may frustrate me that it’s not what I wish it could be or something but there’s just something personal I feel about an artist writing the words to their own song for their own intended meaning.

In a lot of ways it feels kinda impersonal musically when you can tell someone wrote a song and passed it to just whatever vocalist they could find to fill with pop-isms or something - a lot of popular EDM stuff feels like that to me like it’s nice and all but it doesn’t feel like the whole message of the song had a unified artistic goal in it’s creation.

With respect to your artistic choices, I have to disagree about this. This idea, as a limitation, is all in the mind. For example, this “issue” has been solved for centuries, out of necessity, in musical theater. The one or two people who write the lyrics to a musical physically can’t step up and play all the parts, but they have a team of people, including the director, band, and actors, who are all specially trained to empathize with the author’s intentions. Of course, they can’t be a one-to-one translation of the author’s feelings, but usually, the author’s voice can’t manage perfect expression, either. Instead, the actor adds her own wealth of experience to the song, building on the structure laid out. And if they’re getting something wrong, then it is the director’s (and the author’s! In theater, the writer is considered the highest authority on their play) responsibility to help the actor understand the intent better, and help them express it clearer.

Take Frank Sinatra, for a non-theater example. One of the most popular, well-known singers in history, and he never wrote a single thing. Now, did he get famous for just throwing his magical voice at whatever notes and lyrics someone slid his way? No. He specifically said, “Throughout my career, if I have done anything, I have paid attention to every note and every word I sing - if I respect the song. If I cannot project this to a listener, I fail.” The only way he was able to sing properly was to feel the meaning of the song in every single note of it, and use his own skills to convey that meaning to the audience.

Maybe it would make it easier if you thought about the singer as another instrument. (I’m not sure exactly what tools you use, so I’ll go with a common physical instrument example first.) Most guitar players did not make their own guitar. They picked out the guitar, because they liked how it sounds and how easy it is for them to work with. They write the parts for the guitar (even if not written down physically), and play it, but the voice that sounds will always include the luthier’s spirit as much as the songwriter’s. The same could go for any electronic instrument! The programmer’s voice, the electrical engineer’s voice, they all have to be taken and integrated by you, the writer, and made into a cohesive whole.

It can be scary, because you can’t just play a singer like a guitar, and you can’t directly control their tone with electric dials. You have to talk to the singer and effectively communicate the meaning and soul behind your song before anyone can even hear it! But it’s not impossible. There are singers all over the world who are trained especially for that talent, and asking their help to express your meaning better has no more shame than using a guitar to produce sounds you couldn’t alone.

(via heylasfas)

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Origin Story


I suppose the first thing to talk about is the inspiration for KOVA: why I would try my hand at making this program in the first place. Well, I had been a capable, but under-motivated musician for several years, drifting from the violin to the saxophone to the guitar. My main inspiration was Weird…

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The First Post


Hello, world! My name is Alex (Is Not a Robot) and this is where I’ll be officially documenting the process of creating KOVA, my algorithmic random music generator. You can read about me and the program in the links to the side. Feel free to ask questions or make suggestions along the way.

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So Amanda and I watched this movie, Begin Again. And, overall, I dug it. Might even make it into my top five of the year? Top ten at least. Probably. BUT ANYHOW, here’s the trick: MUSIC NERDERY. This is a movie by and for music nerds. Right? Okay, so now you’ve got your skeptic hat on (or, maybe your skeptic glasses… YOUR SKEPTICALS! QUICK, CALL RAND MCNALLY!) and so did I. And yet, though a tiny smidge cheesy and out of touch, the movie managed to OVERALL be a nice, solid movie about music.


And this is a big except.

EXCEPT there’s a scene where two of the characters are talking, and one sees the other’s iPod and asks to look at it and the iPod owner balks and won’t allow such a thing because their iPod is full of “GUILTY PLEASIRES”! (OOOOOOOOOHHHHHHHHH) and NEVER MIND that I’ve already written about how “GUILTY PLEASURE” is a bullshit term that implies that there is an empirical value to music and that some music is just inarguably better than others GENERALLY using a yardstick of pretension and general worrying about not being seen as somehow “unhip” for liking something “unhip” even though art affecting you emotionally and making you feel feels is the most beautiful thing our stupid lives have to offer…

What was I talking about? Oh yeah, guilty pleasures. So, okay, fine, I think playing into the mindset of feeling guilty about what you like is juvenile and ultimately harmful, BUT WHATEVER, I still GET IT and I can still appreciate this scene in the movie. Let’s go, let’s check out these guilty pleasures…

The scene goes on to play basically a montage of Frank Sinatra classics. And, now, okay, I PERSONALLY fucking HATE Frank Sinatra. Don’t like the songs, don’t like the voice, don’t like the style, DEFINITELY don’t like the man behind all of the above. THAT SAID. I realize my hatred of the Chairman of the Spousal Abuse (or whatever) is mine, is personal preference, and so I get why some people might like him even if I don’t.

THAT SAID. Oh my god I can’t stop tangenting. Stop me, don’t let me tangent again, let me let this out. FRANK SINATRA IS NOT A GUILTY PLEASURE. SERIOUSLY ALMOST EVERYONE (well, everyone who’s white anyhow) LIKES FRANK SINATRA!

I get that you’re making this movie and you wanna have a sweet WITH-IT soundtrack with no skippable tracks and so, for your “guilty pleasure” in the score you opted for something old.

That’s not the fuck what guilty pleasure means, dude. And, you know, I can even empathize with this. Because here’s the rub: To admit a guilty pleasure is to accidentally admit you give a shit what people think about your taste in music. And so, as is often the case, you will “ADMIT” to something guilty by admitting to something that you know everyone else also likes but which isn’t the current flavor of the month as to seem vulnerable yet still relateable and not have to worry about anyone ever actually seeing you as — GASP — UNCOOL!!!

WELL GUESS WHAT MISTER MOVIE MAN? That’s fucking stupid. Don’t make a movie with a guilty pleasure exposure and cop out to something as goddamn safe as Frank stupid flippin Sinatra.

You know what’s a guilty pleasure? The Crash Test Dummies. Or Nina Gordon’s solo albums from after Veruca Salt broke up. Holy shit. Or, like… I mean, hell, it’s all so contextual. If you’re with your grandma, it’s Cannibal Corpse. If you’re with a bunch of punks it’s Ben Folds Five. If you’re with the Pitchfork writing staff it’s LITERALLY ANYTHING EVER.

Anyhow. What the hell was my point? Oh whatever. Just like whatever fucking music makes you feel good. If someone teases you about it, that’s all well and good, unless they seriously actually mean it, in which case they can go to hell. Every punk-as-fuck motherfucker secretly loves the Josie and the Pussycats soundtrack.

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An unused excerpt of text from Mother 3 that was supposedly to be used before the final battle, revealing more backstory for Kumatora (top picture) and Duster (bottom).

Flint also speaks a little at the top excerpt, I believe.

(via kingofmagicant)

A few years ago.


I picked up a hitchhiker.

This is a story I’ve never really told anyone but it’s something I’ve thought about every day for a few years. And, well, the aforementioned hitchhiker asked me if I could tell the story.

Read More

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HeyLasFas at the Renegade Stage, Sunday, Bronycon 2014.

Radical show, dude. 


Every stage HeyLasFas is on is the Renegade Stage

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(via HeyLasFas - Trapped in Stone (Live))



(Source: youtube.com)

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(Source: cablogula, via kingofmagicant)

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The Playmate profiles from the members of One Eye Open.

The now-defunct Avant Tard band from all over CA had such great hits as “Poker with Pocahantes”, “Sumfin 4 Da Quincy”, and “Paul Sharrar”. Listen to these and other type hits at their Reverbnation page.

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