i'm really glad that i've structured the release of this audio gallery
in the order which i began the writing process (with a few exceptions but shhh)
because i really personally feel like you can see my growing comfort
with making music that is original/unique/weird.
(some of you might think it's all weird and for you people...
THANK YOU SO MUCH FOR BEING HERE AND READING THIS.)
but you know, as i wrote more on these songs i started feeling that sense of rebellion
or the feeling of actively rejecting my own hypothetical fear of being dismissed
as a sense of stubborn pride or something
(i now believe it to be sincere pride in my creative energy and work ethic
(which is ego-driven but hey gotta feed the beast sometime)
but on these last few i just really started letting myself do whatever i wanted
without too much thought about it
i will say that the siren-style walkup lead is a reference to cybotron - clear
because i was watching missy elliott videos because she's the best
and that scale in the cybotron/missy song is ummm non-traditional
it's also no coincidence that on 1.30.21 i had a conversation with my friend Nick,
who shreds guitars in a SNES cover band Murder Train,
so i naturally wanted to see if I could mimic a two-hand tapping kind of thing
inspired by shred-style metal guitars, which you hear in the ¿drop/chorus/whatever?
so i definitely had metal riffs floating around when i was writing this too.
so now that it completely makes sense (lol) where this song came from
back to my feelings of freedom.
so when i describe it as an act of rebellion
it's because i'm fully aware that this isn't "commercial" music in the traditional sense
but it doesn't take long for me to start picking apart
why some music is considered "commercial" and other music is considered "weird".
and sometimes... artists like myself internalize this artificial commodification as
the idea that because i don't make music to be successful in those ways
that it might not matter.
so here we come to the title... Dawn of Day.
it's a reference to a book of the same title by Friedrich Wilhelm Nietzsche.
(disclaimer: i'm not a nihilist, i definitely identify with absurdist philosophy much more)
but among the many topics ol' Freddy discusses,
i found his discussion of the origins of morality to be quite important.
and while i may be wildly misinterpreting his original point,
i picked up an important perspective for artists.
basically our default sense of morality is based on how well we adhere to the customs of our culture
but we are blinded to the arbitrary nature which previous generations have decided these customs.
chris rock does a bit about
"tell them god said don't eat pork"
and i think it's a very vivid example about how arbitrary (even good-natured) decisions
are folded into community doctrine and over time
these decisions become traditions and traditions become customs.
and this thread carries on...and...on....and on
leaving us with a society fully formed enough to either accept or reject us
based on our ability and willingness to commit to upholding the customs of our community
but with no real justification behind the distinction beyond "this is how it's been".
while the music industry has certainly evolved a lot in the last ?? years
there are still many vestigal gate-keeping features and ideas which are obstructive
and harmful to the general creative population.
the weight of historical opinion has blanketed us into a false sense of moral clarity
and i believe we are facing a new epoch
of rejecting tradition
and restoring humanity's natural sense of community, empathy, and cooperation.
i vaguely believe this will come about through creative expression,
but i haven't connected the dots on how that works quite yet.
however, the night will not go easily into the dawn of day.
this song represents that battle.