Mind Noise

Imagining and filming is not enough, music is what make the whole experience complete.

I didn’t actually create the name “Mind Noise”, it is a post-production thought, but I think it fits the project perfectly (maybe?). Most of what I produced was not complicated, some sine waves and a few effects, but I think they all convey certain emotions, one that I feel for quite a long time.

I think loneliness is a very special feeling, it is not a bad feeling, but it is a feeling that is very hard to describe. It is a feeling that is very hard to convey. I think that is why I like this project so much, it is a way for me to express certain type of loneliness. Loneliness is not chaotic in a way that is not organized, it is chaotic in a way that is organized, but it is organized in a way that is not understandable. It is a feeling that is very hard to describe, even for those music I produced, I’m not sure what I am suppose to feel when I listen to them, but I know that I felt something when I produced them. Such as this one:

The name doesn’t make sense to me, I named it “Remedy Collect” because I think the song captured much of noises that I collected in the streets. I think it is a good song to listen to when you are feeling lonely (perhaps remedy for loneliness?). I am not truly bothered by the name of my songs simply because the song itself is what matters. But I guess a good name sells.

I think the song devotes some type of summer feelings, I feel quite happy whenever I listen to this song, and this song remains one of my favourite amongst all that I have produced. The pipe sounds that leading the song is me trying very hard to mimic a real saxophone, and the lead you hear at the beginning is actually a reverse of the melody in the chorus. The few vocal “I feel so…”, I guess, is left to the audience to determine what the whole song mean to them.

If you are someone with a six-million-dollar hearing, you may also captured the vocal “and this train is …” right before the “I feel so…” part. And you are absolutely correct, this whole track is built on the plot that the you as a listener is listening to it on the train (or the subway I would like to call it because I imagined it to be in a subway that just surfaced from the underground with the sunlight shining through the window and onto my shoulder as the “I feel so” kicks in).

But of couse, you may not feel the same way as I do, and that is perfectly fine. I think that is the beauty of music, it is a way for us to express ourselves, and it is a way for us to express ourselves in a way that is not limited by language.

Or… you simply don’t like “Remedy Collect”, let’s see if I can get another one that you may like:

Again, you may find the name strange, and I totally agree with you. What am I trying to do with this name? I have no idea to be honest, but one thing I’m sure of is that the song captures the type of yelling I would express in the morning if I am at the beach. “Cassette” probably captures more of the compression I used in the song.

So what am I actually doing with this piece of music? I imagined that the opening occured under water, with a men talking “hear that music” to pull me out of the deep water I was stuck in, giving rise to the verse and chorus of the song. The song is picking up momentum from the verse and carries to the chorus with the gradual introduction of wobbyly synth at the back. The verse is also accompanied by the heavy use of bass to carry the melody, which transitioned to fully synthetic melodies in the chorus. This transition was partly due to fact that I think classical instrument was too dull, whereas synthetic ones carries much more energy and emotion.

You can probably hear the synthesization gradually eating into the whole song with the whole drum kit becoming pixelated and heavily compressed. With the gradual entry of my vocal, you hear the final yell from me trying to walk out of the deep water I got myself into in the beginning.

Then the song finishes with some children calling for me to come back to the beach, and I think that is a good way to end the song.

Children often seem much happier than adults to me, so perhaps allowing children to pull me back is the best way to end something that didn’t start so great.

Here is another one that you may like:

This is one of my earlist work that I am still quite proud of. This song belongs to a genre called Deep House. It is called “Deep” because its melody is mainly driven by crunchy basses, whereas in most other genres, you would see the melody driven by lighter instrument or synth with a lighter touch. The “House” perhaps originates from the genre of House Music, which is a genre that is very popular in the 90s, and remains one of the popular ones in the UK for clubs.

This songs is comparative more complicated in production than the previous two simply because it included many more tracks and sound effects. What I like the most from this production is the dreamy vocal in the chorus. I got the piano to sound as if it is walking from the left to the right with the vocal chanting from where the piano left off. It is a effect that I still haven’t been able to replicate, but I am still trying.

After two repetition of the chorus, the song goes directly to a place where I would call here “ether”. It is a place where the melody remain monotonic with most changed in the song driven by the texture and the atmospheric sound. This part of the song was originally a separate production, I merged the two because I think it makes sense that the listener would be in a dreamy state after the chorus.