You might think we’re in dystopia, it’s only just begun. Nonetheless, there are a couple of producers out there creating tracks like this one. Might not be enough, at least it’s something.
Clever yet catchy songwriting that defies genre conventions.
Read our discussion with the artist below!
Tell us a few things about You’re an A**hole Now. What is the main idea behind it?
“You’re an Ahole Now” was born as a concept from a book I read a few summers ago called Ten Arguments for Deleting Your Social Media Accounts Right Now by Jaron Lanier. One chapter in this book is called “Social Media Is Turning You Into an Ahole.” I thought this was a very funny, albeit incredibly depressing and thought-provoking concept. So I decided to write a piece about it, naming it appropriately. Or inappropriately, depending on who you ask.
The song seems to critique the notion of seeking validation through social media and online presence and the superficiality of fame and attention. What inspired you to write about these topics, and what message are you hoping to convey to your listeners?
Being a human being living in a digitally dominated world is uncharted territory for all of us. Never before in history has each person’s inner most thoughts been so freely given and readily available. Unless, of course, you count literature. But even then, it’s hard to get people to buy book you’ve written; it’s easy to find what you said on Twitter in 2014. To remedy the discomfort in this, we make subtle negotiations with ourselves everyday. We find ways to justify everything we do online by separating it from the “real world.” Unfortunately for us, it’s all real. The political arguments we’ve gotten into with strangers, the surface-level talking points we’ve rehashed over and over for the sake of appearing thoughtful, the endless swipes left and right solely on the basis of someone’s level of attractiveness are all things that, if done out in the “real world”, would cause us to be considered a**holes. But since it’s online, it’s deemed acceptable (with a few exceptions). But I do believe we are reaching a point where you can no longer make the distinction. It’s really become quite dystopian, in my opinion. So in short, I guess the message is either we learn to live without social media, or we stop negotiating with ourselves and accept that “real” isn’t just “in person” anymore. Which I think is sad.
Can you elaborate on your approach to genre-bending and style-infusing in your compositions, and how you maintain authenticity while exploring diverse musical influences?
All I’ve ever tried to do is write what I like. I’m not someone who is trying very hard to be an artist, so I don’t feel it necessary to stick to one sonic palate. My tastes are varied, therefore what I write will naturally be a bit all over the place genre-wise. However, if you’re looking for a tangible way to become more eclectic, I believe regardless of what you create it is important to absorb everything. Whether you are a composer, a novelist, a painter, or what have you, you have to be a sponge, especially with unfamiliar media. Listen to new artists/styles, see a movie you wouldn’t normally see, try a new hobby (I hear birding is nice), read a book you don’t think you’ll like, etc. It’s amazing how much these new experiences come out in your work, if you let it. Sondheim wrote a great line for his musical, Sunday In the Park With George: “Anything you do, let it come from you. Then it will be new.” I always liked that, and I think it applies here. What you make will be authentic because you are unique. Unless of course you are trying to rip something off.
Artists and people that have influenced you?
I have been influenced by all of the great pianist/vocalists who write their own stuff. Billy Joel was my first influence, which had a trickle-down effect where I became enamored with others who were inspired by him in some way. Ben Folds, Gabe Dixon, Jamie Cullum, Sara Bareilles, etc. Basically anyone who ever played the piano in a pop music setting. More recently though, meaning in the last five years or so, I’ve leaned very heavily into jazz. Maria Schneider, who I’m lucky enough to call a friend as well as a hero, immediately comes to my mind as an inspiration in that realm, specifically for large ensemble writing and general creativity. I could go on and on about jazz artists I love so I’ll spare everyone the time and cut it off there.
A song that makes your heart beat faster?
“Love It If We Made It” by The 1975. First of all, they’re my favorite band right now, and probably will be forever. I could name about 20 of their songs that get my heart rate up, but that’s the one I’m settling on. Secondly, I don’t know if people who aren’t avid listeners know how good that song is. Everything from the writing, to the production, to the performance is perfect, in my opinion. To me, it is THE political commentary song of my generation. What’s funny is if you listen to it, they’re not even really saying anything, they’re mostly just mentioning things that have happened. Kinda cool, kinda weird.
Is songwriting a lonely process, or do you find value in collaboration with others??
Songwriting is definitely a lonely process, but only if you do it the way I do it, which is to say, entirely in isolation. There is absolutely value in collaboration, I just love creative control too much. I’d honestly rather bang my head against the wall looking for a great idea than have a great idea and need to run it through a screening process with two other writers. I’m not proud of it, but it’s where I’m at right now. I’m hoping that will change soon, I do have many close friends who are great songwriters. Maybe that’ll be my next project.
In which place or state of mind do you imagine people might listen to your music?
Seeing as how I am a self-admitted mess when it comes to genre/vibe curating, I don’t imagine anyone listens to my music in one particular place or state of mind. But I suppose it’s my hope that people would find my music when they feel burnt out on their usual listens, but they can’t quite place why. I try my best to stay as fresh as possible and subvert formulaic popular music conventions whenever I can. At the end of the day, I hope the main takeaway when listening to my work is that popular music does not have to be one thing in order for it to mean something to someone.
Thank you!
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