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How to tell your story without songs – Spotify for artists


With credit for the song as co-founder and producer of a state-of-the-art DJ Collective (WDIT) Post Malone And Chance the rapper, Shlomo The star-spangled compilation album with the top 40 bits should drop. Instead, Los Angeles-born Henry Laufer is celebrating his release The end, Slowly Flying Guitar-Supporting Concept Album, Well, Finish: The Last Days, Apocalypse, Armageddon. As if its subject was not ambitious enough, this low-fi, genre-defining masterpiece is utterly useful. Pippa Bianco’s HBO-acquired score is just her first photo considering Schloho ShareWe thought it would be a good time to talk to her about how to tell a story without using a single lyric.

Spotify for Artists: What’s the story behind it? The end?

Shlomo: Whenever I make music my head is in this place, this kind of feeling is like the end of the world – like the edge of the body, the place removed from almost everything. So embracing that idea and connecting it to my passion for the religion of my last comfort, and where we are today with the politics of stupid people … the end of the world seems to be a relevant narrative for this music to live on.

How do you create an instrument album around such an idea?

When I go into things, I don’t necessarily think, “I’m going to soundtrack this idea.” I think the only way the music comes out is to make it look like this to me, which is just letting it do its job. But whenever I’m making music, I try to meditate on emptiness with all my influences, everything I’ve done, and everything I’ve seen on the internet. I guess my process is trying to avoid a process that will make it dirty or clich.

So when does the idea take shape?

Once I’ve created the music, then it’s time to piece things together, determine what words are in this world, and determine what the album is trying to say. I couldn’t think of a big-meteor coming or something so perfect. The fun part for me is to portray myself as a conductor of some strange religion. That’s where track sequencing comes in, creating this kind of movie-like arc that can carry the audience [the album] As a movement, but without sound.

How does it play? Extremely cool final track of the album, “Still life, “Opening to the sound of birds and water. You have to think: are people all gone?

Yes! Exactly so – it seems that once everything has become important and the dust has settled and left such a new dawn. “Looking at the walls“There’s that indifferent or zero feeling of literally looking at a wall, where everything is bad and you’re just alone and that’s it.” The bright side of watching a video “is where you’re basically doing the same thing, but there’s this feeling … not necessarily optimistic, but staying at peace with what’s wrong.

Headaches of the year“Doom includes metal.”Panic attack“Trouble, nervous words cause problems. Can the genre communicate with narrative or mood?

Definitely. I think many of the genres of entry into this music are based on a similarity [moody] Feelings, be it Memphis Rap or Horrorcore, surround music that is next to the “dark hole synth” of things, the cold and the 80s New Wave of Art, Doom Metal, or the big trip-hop that I grew up with. There is a similar kind of removal from the earth in this kind of semi-ridiculous way. The artists themselves may not see it that way, but to me it’s a different story.

What about instruments? The words you use sound like the remnants of a lost civilization.

Yes, the main melody of the song “The end” [came from] This old Little Ticks-style xylophone thing, baby’s first instrument, and I’ve played a few notes live, recording on this handheld tape player I’ve been using for about 10 years. I didn’t know exactly what it would look like but I knew I wanted to physically shake it from the tape player while I was sampling it on my computer pause it, rewind it for a second and manually delete it The note gets all these weird twists and dirt. I will then re-sample and rearrange the notes that I was actually playing, as time goes on.

It’s amazing how sound quality itself can mean so much.

The language I am trying to speak is an obscene language. For “Hopeless”, I took the machine to a Fisher-Price baby karaoke, locked the speaker in my vocal booth and recorded it with a nice microphone, outside while I was humming and roaring through the toy mic. The joke on the voice is great but this insane reaction also happened. I later influenced it and it became another instrument of the song. There’s such shit all over the album.

You recently scored a goal Share. Was it easy to create words in an existing description?

It was actually more challenging. My favorite scores I don’t realize I’m listening to because they just make the vibe better, so it was an amazing exercise in how to express as much energy and feelings as possible. I accidentally get the most out of my albums. They fill the space of dialogue and narrative. This is why it’s funny when people tell me, “Your music belongs to the movies – it’s very cinematic.” I like, “Yeah, try it and you’ll see. That’s why it doesn’t work.”

– Chris Martins



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