music is life, music is breath, music is us


Breaking Down the Complexity of Rap with Genius

For those that don’t share an appreciation for it as fans do, hip hop music might sound nonsensical. But much like poets, rappers write their songs with underlying or hidden meanings, connotations that are not always uncovered upon your first listen. At times, you won’t even comprehend what words or phrases are expressed with songs, a common problem that most people find with artists working with this genre of music. Madame Noir names more than ten singers and rappers that a majority of people have a hard time understanding what they’re trying to say in their songs.


Luckily, avid hip hop fans have been contributing their opinions and thoughts on song meanings on, untangling confusing wordplay which is coupled “oblique references, inside jokes, and regional slang.” But it wasn’t enough to simply have a website that rap lovers could refer to. Demands have changed, and once people hear a new rap single on the radio with obscure lyrics, curiosity strikes the mind and they want to look up song meanings right away on their phones. If they put it off for later, they might just forget about it altogether.

In this day and age, everything has to be mobile friendly in order for it to be relevant. Accessing internet on smartphones and tablets is on par, if not superior, to accessing internet on PCs, as convenience appeals to the consumer. According to James Harrison, the man behind mobile gaming website Pocket Fruity, there is even some debate as to which method is better for launching apps: native apps or HTML 5. Still, launching into mobile markets is an ongoing trend that developers follow so that they can stay connected to consumer interest, such as those that want to keep up with the hip hop industry.


This is where Genius comes in, a free app that does much more than what the website is capable of. Utilizing the technology of Shazam, Genius can identify songs and immediately display the lyrics, so that you can read them as the particular song is playing in the background. Other than user comments with song interpretation and explanations, some lyrics are accompanied with songs from SoundCloud. If you allow the app to access your music, it’ll find the lyrics of the song you have currently playing. Recently, functions of the app expanded to incorporate rock music, poetry, and even news in the music industry.

Hip hop fan or not, this is an interesting and useful app to have. Unfortunately, Genius is only available on iOS, but it’s an app worth downloading if you own an iPhone or iPad.

(from a contributor)

Mingus: Finding Beauty in the Edges of the Imagination

Derek Kortepeter:

In honor of Mingus’ birthday I am reblogging the rather long post I did about him some time ago.-Derek

Originally posted on mixolydianblog:


Some composers and musicians are purists, intent on remaining in a specific tradition without altering it greatly. Others are, for lack of a better term, “musical anarchists” intent on destroying every rule and barrier set before them. Finally there are those who fall far from either extreme, but more importantly are able to hold to various traditions while simultaneously challenging them. Charles Mingus is someone that can be considered a member of this third group. A musical renaissance man, Mingus could be as comfortable following contrapuntal rules as he could deconstructing the jazz structures of his contemporaries. He truly was an individual without boundaries to his imagination, and it was his curiosity that set him apart. In order to truly understand, rather begin to understand, the music Charles wrote, one must study his life. It is this concept that this post will focus on, taking both Mingus’ biography and his…

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Brand New-“Don’t Feel Anything” UPDATED

Brand New is a band that, if you know me well, you know has had an immense influence on me. They traveled all the twists and turns of my life and voiced this primal rage and pessimism that I always seemed to have. Brand New is a thing of mythology almost, they disappear and reappear and rarely let news out about what they are doing. All fans got a surprise yesterday when they appeared to open their concert with a new song. It sounds way different than the stuff they’ve put out before, like furthering the sound they explored in Daisy. It has been 6 years since these guys have played anything new, just for that alone I am glad to hear this song.

UPDATE: The song is actually called “Mene” and is available for download and streaming (FOR FREE!) at the band’s website

Interview with Finnish synth group STRAKTOBEAM

78767360(Hey everyone, here is an interview with an awesome synth quintet from Finland that I featured on the site not too long ago. We talk about all things electronic music and more.-Derek)

DK: So tell me now you all met and got started as a group?

STRAKTOBEAM: All of us attended the same high school in Helsinki. We played together in various bands, most of us in a ska/pop band called Simbad. Like often with new bands, the idea came while Ville, Otto, Veijo and Saara were intoxicated at a Finnish rock festival (Ilosaari 2009). Veijo had been a big synth music and synthesizer lover for a long time, and Ville and Otto were avid video game players, so it came together quite naturally.

Also, we were pretty tired of carrying heavy instruments from rehearsal space to gig to studio, so we thought electronic music would involve less carrying heavy things. With our current set up of live drums and 8-10 vintage synths, that turned out not to be the case…

 After a few years of thinking and talking about it, we first started to actually play STRAKTOBEAM tunes together in 2011 and also had our first shows then, adding Ville’s brother Timo on the drums.

DK: As a synth group you mention being influenced by Jarre (who is a big influence of mine) and others. Can you talk about the songs that had the most impact on you?

STRAKTOBEAM: For all of us, the whole Oxygene LP has probably been the biggest influence. The simplicity and beauty of it and the melodic flow really touches us. From that LP, the opening track (Part I) has probably been the biggest favorite. 

Also Jarre and other early synth pioneers (Kraftwerk, Space, YMO etc.) have been a big influence in the way that they also played all of the stuff live. That’s something we aspire to do as well, skipping backing tracks and using samples only minimally. Doing something visual and different with the songs (like Jarre’s sax solos in space and laser controlled synths) is something we also yearn to do.


 DK: I notice a lot of sci-fi and video game influences as well, can you talk about how you incorporate these ideas into your music?

STRAKTOBEAM: When we first started to play, we were very heavily influenced by retro gaming music from titles (like Megaman, Mortal Kombat, Sonic series and those old Mac games – Crystal Quest and the original Sim City). Not only did those inspire the sounds and melodies we used but also the atmosphere and very much the visuals we employ in our songs. Every gig we play (unless it’s outdoors and there is simply too much sun) we have self-made (mostly self-cut) visuals, who a friend of ours (Sampo) VJs for gigs. Since our music is mostly instrumental and occasional singing and vocoder is more like an additional instrument the visuals play quite an important role in our output.

Later on, we decided to mix space and sci-fi elements to our music. Early and Next Generation Star Trek, 60s scifi classics (Space Odyssey, Plan 9 From Outer Space, the awesome animation film La Planete Sauvage) have been major influences. We’re also quite fascinated by all kinds of conspiracy theories and the idea that maybe life came to Earth from the stars. We find these concepts interesting and inspiring, although it’s not something we necessary think is the truth. In the videos for Melange and Moai Motheship we explore these ideas in some depth. Whether these ideas are clear in the actual songs, probably not, but they may come across in the atmosphere.

DK: How do you go about composing your music? Do you all meet and decide the harmonic/melodic material beforehand or do you improvise somewhat to find what works?

STRAKTOBEAM: All members in our band participate in composing coming up with concepts. Most songs are born at jams at the rehersal space, though the riffs and chords may be thought up beforehand. Nowadays, however, since we are scattered around Finland, living in three quite distant cities, most tunes are composed at smaller jams when a few of us happen to be in the same city at the same time. The whole band then gets together (usually before a gig) to finalize the tracks.

DK: What type of synths do you guys play?

STRAKTOBEAM: We love vintage synths (who doesn’t?), especially old analog gear, but unfortunately can’t afford all the stuff we like. Currently our setup (for both live and studio recordings) is Siel Korg MS-10, Logan String Melody II, MicroKORG, Nord Lead 2, Roland Juno-106, Roland Juno-G & Siel DK70 (w/ Moogslayer mod) and Roland SVC-350 vocoder.


DK: When you perform live, what type of venues do you usually find yourself playing in?

 We’ve played in all sorts of venues: from the weirdest of UG parties to some quite nice outdoor festivals. Generally, due to the visuals, we prefer indoor dark dusty places, where we can fully deploy our audiovisual spectacle… but anything goes, really.

Yesterday, for example, we played at a small all-age no-alcohol venue in Helsinki and it was absolutely awesome. A great atmosphere, easy-going people and interesting acts (Sekret Teknik, Kaamosmasennus) playing with us. Again, some people in the audience were probably a little baffled, but some certainly got a smile on their face.

DK: How has the Finnish music scene responded to your music? Is there a large electronic music presence there?

STRAKTOBEAM: This is a difficult question. For most people, I guess our music might be a little bit too much “out there”. Some people might not “get it” although there is nothing special really to get, it’s just vintage synths and cosmic fun. On the other hand, some people really seem to dig what we do

So far, we’ve played more in rock/pop venues/festivals than at pure electronica events, possibly partly because our set up (a LOT of gear and live drums) is a little different than the usual set up of laptops and a few synths.

Have to say, there seems to be quite a cool and large underground techno scene in Finland, but we’re not really a part of that so far. We’d love to play some cool rave-type events (maybe as early opening acts or late-night setcloser), but so far that has not happened. There are also some really cool retro revivalist electro acts in Finland (such as Freeweights, Beverly Girl, Libla and a whole bunch of others) and recently we’ve been playing with them – and it’s been great fun!

Also, on a global scale, have to put a word out for the synthwave scene! A lot of absolutely awesome artists (both music makers and visualists), people and blogs! While our music merely flirts with this genre, it’s definitely something worth checking out, perhaps by dropping by at the blog (

DK: What do you want people to think or feel when they listen to your music?

STRAKTOBEAM: Another difficult one. To some extent, our music is about taking an adventure (be it in space, or in old 8 bit world or just in your living room) so if people get those vibes from our songs – superb! Also, we are very much an anti-“scene” band, ie it’s okay to laugh/be amused by our stuff and/or not take us totally seriously. The element of cosmic fun is something we yearn for!

One of our previous tracks, Monsters was an adventure into the world of timelapsing, while an upcoming song, still at the quasi-demo phase (i.e. not played live) is an underwater trip

Furthermore, we think that the best songs are still to come. Something huge, awesome, triangular, spectacularly synthtastic will yet be made by us.


DK: As an electronic composer myself I sometimes worry about the state of our genre. It seems like more people care about dubstep and EDM instead of Tangerine Dream and Kraftwerk (at least where I live in the United States). What do you think we can do as electronic artists to change this?

STRAKTOBEAM: The situation might be a little better in Finland, but we totally understand what you mean. Music is a matter of opinion, and EDM and dubstep appeals to a lot of people, which is fine. The best way is to make stuff you enjoy making and just put it out there. If you start a band with four synthesizer players and no lead singer and you’re not doing exactly EDM, you know you probably won’t be on the Top of the Pops anytime soon, but that luckily doesn’t prevent you from making 3D-printed astronaut space exploration videos and enjoying it.

So in short: electronic artists should keep making what they do and enjoy it, you’ll never in the end be happy if you change your genre/style/whatever just to please the masses.

 DK: Is there anything else you would like to say before we conclude this interview?

STRAKTOBEAM: We’d like to thank you for giving us this opportunity to share our thoughts! It’s these cool independent blogs that make the modern (global) music scene so much fun.

Also, we encourage anybody reading to (naturally) check out our stuff on Soundcloud or YouTube. Also, any kind of feedback is much appreciated!

May the Force be with you



EP Review: Soothsayer’s “Shortsighted, But Far Out…”


I was recently contacted by a producer and electronic artist named Soothsayer who is based out of Manchester, UK. Upon hearing his EP Shortsighted, But Far Out… I knew I had to give it a review. Soothsayer describes the record as “glitch hop, but there are elements of psychedelia, IDM, hip-hop, trance, and lots of experimental stuff thrown in.

The record is indeed a mix of those styles, but they blend together so well. Each song walks the line between the experimental and the mainstream, much like Massive Attack and Aphex Twin’s music do. One minute you are in an ambient fantasy, next minute you are flung back into a electronic/rap dystopia. Each song can exist on its own, but makes sense within the record’s overall story. The story isn’t obvious, you really can interpret it in many ways. The way I see it is that it shows what technology and the mind can do, the natural and the unnatural. There are hidden pathways that each song allows you to take, and these pathways shift each time you listen. Sometimes you seem to be hearing a social commentary, sometimes you hear a reason to dance, and sometimes you hear a reason to panic. In the end track “Tumult” there is a jazz/downtempo groove, then the record ends with a discordant rebellion of sounds like in the Beatles’ “A Day In The Life.”

All of these things are great.

Ultimately in the vast world of electronic music, a world that I personally belong to, Shortsighted, But Far Out… absolutely belongs. It will make you think, make you react, and make you groove. I say you go ahead and give it a listen.

The EP can be found at the following link:

Soothsayer can be found at:


Interview with metal guitarist The Henry Maneuver


(Hey guys! Here is an interview with a really talented guitarist in the rock/metal scene of the US. I hope you enjoy the conversation!-Derek)

Derek Kortepeter: So tell me how you got into music and how you came to realize that it was what you wanted to do with your life?

TheHenryManeuver: I grew up in a pretty musically inclined family. My aunt was a classically educated pianist, and both of my parents also had studied classical piano, so music was constantly being played in the house, and when I was 5-ish, it was understood that I would begin piano lessons with my aunt just like my sister did. My dad was in a rock band when he was younger, so naturally, whenever Led Zeppelin would come on the radio while we’d be in the car, he would crank it, and I’d notice that he’d get goose bumps remembering those days, and I thought to myself, “I WANT THAT!” Then, as I got older, I became obsessed with rock music, and the deal was if I got good grades and kept at the piano, my parents would get me a guitar, so that’s exactly what I did! Some people want crack. Some people want more cowbell, and I just want to make loud noises, preferably in a way that also pleases others.

DK: Who are your influences, and how have they affected your guitar playing and songwriting?

THM: Everything I listen to has had a big role in shaping the way that I play/write, music ranging from ABBA to Lady Gaga/Meshuggah mash-ups.   The first guitar player who really blew my skirt up, figuratively speaking – I’m more of a skinny jeans kinda guy, was Yngwie Malmsteen. There’s something about playing unnecessarily fast with a neo-classical undertone that I find intoxicating, like a Lzzy Hale Capri Sun I-V, which is why I think I have a tendency to play harmonic minor licks for no apparent reason.

I also really admire artists like Led Zeppelin, Mozart, and City of Evil era Avenged Sevenfold who are able to write riffs /melodic ideas that evolve over the course of a song naturally and feel wholesome by the time you get to the end of a piece or album. The rise and fall is perfect. It’s definitely something I aspire to do, although rarely accomplish, if ever, but it’s a lifetime goal.

DK: When you go to write music, is it spontaneous or do you have a mental sketch of what you want beforehand?

THM: When I write for someone else or co-write a song, there’s usually a vision for what the song is supposed to accomplish and/or sound like. Vocal melodies, for example, will revolve around what makes the vocalist most comfortable for his/her register and style.

BUT… when I write as myself, The Henry Maneuver, it’s pretty spontaneous. These are the songs where I can just write and experiment with literally whatever comes to mind. The only parameters that I usually give myself are general instrumentation that I want to use.   The music theory sometimes is very loosely followed, just to see what happens. I’d say a majority of THM material never gets past my personal recording computer, and I don’t let anyone listen to it, except maybe my dad.  Most of the time it’s just a galactic train wreck in the form of 0s and 1s that will forever be trapped in the ether that is my hard drive (I just wanted to use the word ‘ether.’ I’m pretty sure it doesn’t apply in this situation. #yolo)

DK: I’ve seen quite a few of your Youtube videos and I can tell that you have a great sense of humor. A lot of rock guitarists in the instrumental genre tend to take themselves way too seriously, so I find this refreshing. Was it pretty natural for you to decide to inject humor into your videos?

THM: I think it started out as a self-defense mechanism, especially when I was younger, because how do you make fun of someone who is already making fun of his/her? At least … I like to pretend that’s true. I also in general don’t take things “seriously,” whatever “seriously” means. I just don’t see a point. Taking things “seriously” to me feels like you’re putting invisible chains on how you’re supposed to treat a situation, and it feels very oppressive and unnatural to me. I hope someone farts at my funeral and takes goofy pictures with my dead body because life was too serious while I was participating. I feel as though life is worth enjoying and having a good time ‘cause like the most terrifying roller coaster you’ve ever been on, it’s going to be over in a second.

DK: You mention at Johns Hopkins that you got made fun of for wearing black fingernail polish, was the school not really accepting of metal musicians?

THM: Nah, I don’t think it’s that. I think it was just the fact that a guy was walking around campus wearing black nail polish for seemingly no reason. Once people knew it was ‘cause I played metal and thought nail polish was a cool accessory, they would be like “Oh … okay. What are you doing here then??” I … still don’t really know the answer to that question, and by “here,” I mean Earth. No clue. Place is weird. Gravity and social security numbers like … wtf??

DK: You are now a solo artist, but were the lead guitarist for the east coast band Rest Among Ruins. Was the split amicable? Do they support your solo work?

THM: Um … that’s a loaded question. Suffice it to say that I think everyone wishes the best for everyone now, but at one point, it wasn’t an ideal situation. There was definitely miscommunication, and if I could go back in time, there are things I would have said or done differently, but it just may have turned out for the best for everyone. Time will tell. I haven’t seen any of the guys in person for several years, but I’m sure if we were all in the same place at the same time, we could grab some eats from Jersey Mike’s or Royal Farms and share a laugh.

DK: I notice that you are a multi-instrumentalist, do you find that noodling around on different instruments gives you more ideas from different areas as opposed to one specific genre (i.e. instrumental rock)?

THM: Yeah. For sure. Sometimes when I try to work on one instrument, I hit a dead end or a wall in thinking, and jumping behind the piano, if I’ve been harping on the guitar for a while, really helps me gather my thoughts and continue. Also, the piano is awesome because it’s like a chart of what you’re doing. The sharps and flats are straight up a different color. Pretty genius guy, that Bartolomeo Cristofori.

DK: You are a featured artist for PRS guitars and your main axe is a PRS 20th Anniversary Custom 24, which is pretty damn cool. As a guitarist I have picked up a PRS a few times and found the guitars to be really comfortable to play. What draws you to them, and how did you get to be featured on their website?

THM: I’ve never really known a whole lot about gear. It’s not something I’m particularly proud of and am trying to learn more and more as time goes on, but especially when I was starting guitar, I didn’t have a clue as to what’s what. I come from a line of piano players, so it was a new frontier. I would go to Guitar Center, not knowing anything about guitars, and just pick them up and try them. It wasn’t until I had been playing guitar for several years that I ever even touched a PRS because as you very well know, they’re usually very high up on the wall, and I’m a fairly short guy. My pastor growing up, Lenny Stadler, who not only was an incredible orator and community leader, played bass, and I got to jam with him once when I was in high school, and after I kind of complained how the cutaways of my guitar made it hard for me to play near the higher frets, he told me to check out PRS guitars, so I finally grew a pair and asked one of the Guitar Center guys to let me try out one of their Custom 24s. After he gave me this “you break it, you buy it” speech, I sat down with it and didn’t want to move. It felt like a tuxedo that was as comfortable as sweat pants (That analogy is inspired by a recent “New Girl” episode). It was like using the bathroom at your house after you’ve been away for years in deep space, and you have issues relieving yourself in zero gravity. Nailed it.

As far as getting onto their site goes, long story short, someone at the factory hooked me up with Grover (RIP) who was working Artist Relations at PRS at the time, and he basically gave my music a shot for no reason, just being charitable. He got the thumbs up from Mr. Paul Reed Smith himself to put me up on the site after they saw my “Butt Snuffs” video, which cracks me up, and that’s that. I’ll never forget him.

 DK: Are you currently playing live shows with a band?

THM: Yes and no. Not really. I sometimes participate with groups in my area just for fun, but it’s not a touring gig or anything.

DK: What projects do you have currently in the works musically?

THM: Some are secrets but will hopefully be getting hashed out in the near future, BUT a band I’ve been working with since last year is starting to near the finish line with some jams. The band is called, “The Point Past Insanity.” They are from Des Moines, Iowa, and their sound falls under the genre of “metalcore,” but it’s shaping out to be pretty unique, in my opinion. Some of the new songs will be dropping within the next couple of weeks/months, and I even had the opportunity to do some vocals on it. Ayeeee.

 DK: What do you want people to take away from your music as an overall experience?

THM: Ideally, I’d like the music to be a moment in time where people can remove themselves from any problems that they’re having and exist as if none of that is happening, step into a world with only happy moments or a state of mind where the listener can recreate their own persona into whatever they want. The Matrix tends to be pretty rough place, and I’d like to help people escape.

 DK: Is there anything else you would like to say before this interview concludes?

THM: Please send me good vibes, and I’ll try to send them out too.


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