“Synapses Sparked is my reluctance to make another electronic album. I enjoy mixing things up. With the rise of streaming music I felt as though people are now more open than ever to try on new styles if music. Synapses sparked is my splash of my impressions from a jazzy, funk and fusion vantage point. There’s a multitude of influence on this album, from Herbie Hancock, Miles Davis band and even Aphex Twin and Squarepusher. I wanted to make something as the title suggests, something to get the brain jogging, open crevices of imagination, get the brain fired up and inspired, just as I have been from many of my influences. It’s a potpourri of elements with a lively aesthetic and It prominently uses grooves to set the mood.
On Funk-o-meter, there’s a scratchy, old-school funk vibe, with Rhodes keyboards, thick claps. This meter is turned up all the way. The bassline and beat makes you want to bob your head. That was the initial philosophy. I wanted to create a undeniable funk and vibe. One to get people bobbing there heads. I even included Mellotron flutes. This a jam that could work as a b side on Dr. Dre’s Chronic.
Liquid Playboy has a bit of mysterious, dark funk groove, driven by smooth, yet hyper percussive drums. The drums come out of a Drum n’ bass rhythm. There are whipping ghost snares that add a crisp sound. There’s mischievous keyboards. A Smirking bass guitar. The musicality is experimental, occasionally using diminished chords, rising and lowering the tension of the busy track. Liquid playboy is not a person or influenced by any particular entity. Liquid playboy is a mentality.
I used to drugs i still do but i used to too is a reference to the late comedian Mitch Hedberg’s routine. Similar to Hedberg’s comedy, the breaks in the track are sparse, as were some of his one liners were. The drums have this same starting and stopping act. During the breaks, it rises in brightness with synthesizers, there’s a lot of chord changes on the keyboard. I made a video under creative commons, with a dashboard camera highway time-lapsed, the video would go in-out of colour and black and white with the rhythms in the break. Liquid.
Inundated also has a video I made with a 3D city lightscape where all the streetlights and windows would dance with the chaos of the jam. Inundated is one of the older tracks from the album, I think it uses the most FX processing than any other track on the album. It’s almost a parody of the idea that people continue to claim the computer does all the work, thus many human elements are almost robotic and
Have a certain lo fi distortion. It’s almost disorienting – to the unchallenged listener. The pianos have a bubbling mutating alien bed it lays on. This one is for the alien musicians that enjoy being slammed by a sensorial, immersive experience to be Inundated within. Its one of the more electronic pieces.
“Nobody talks about this” title makes me laugh the most. This phrase has become a meme. It’s a psychological trick after saying anything you regard as valuable to seem as a revelation no matter how inane it appears to be. “Red is a colour on a vast spectrum. Nobody talks about this.” These are the kinds of wordplay that amuses me. Few understand this. The track has huge synthetic stabs that introduces and reveals this big band, big brass vibe that comes on off, while it builds to this groovy break, with rhodes, flutes circulating, without any real structure or time signature, and there are harps bringing new revelatory experience. It climaxes to a floaty, airy feeling as the jazzy drums are navigating and the upright bass is on it’s own trip exploring new territories – floating. It’s an eclectic mix of jazz, funk and electro big band.
Hyper Cartoon Theme is the kind of jam I would love to license for an opening intro for a program. I’ve had a couple of ideas for cartoons geared for adults. This could be an opening theme, including many tracks from Synapses sparked. Hyper cartoon theme gets to the root of Drum n’ Bass breaks again, glitching out the drums and stutters to the rhythm. This is a really colourful, bright track but it’s not to be underestimated.
Introverted Intuition, I’ve been really interested in Jungian psychology and MBTI types as of late. I find it fascinating. I think it’s a great psychological tool for understanding yourself and understanding other people. I like how introverted intuition is described as “… What will be…” I’ve thought about creating an album on types, I think its been done but not from my understanding. For this track, I stick to this cognitive function, which are dominant in the INTJ and INFJ types. These types are less “sensations oriented” that’s partly the reason why I put this here, I want to fire those synapses. This is the most important track on the album. Seemingly the most complex, yet accessible track. I joke about creating 20 chord bars, this track is why, while it doesn’t have 20 it certainly does not have the traditional 4 found in pop music. I use the most enticing chord shapes. I wanted to make jazz music for people with ADHD, people addicted to their phones, that want everything yesterday. At the same time I wanted to make something I would be proud of and enjoy many years beyond. The drum samples are tight and highly precise in their programming. It’s one you can play to focus intently or listen to in the background. It’s so jam packed the music zooms by past you quickly.
Discreet Meeting is a sensual, romantic, smooth jazzy ballad. It has jazz guitars on the left. Some centered snares being brushed. Upright bass carrying the low end. Some woodwinds on the right. I’m really happy about the chord shapes that lead on to a brief d major chord, the climax – The highlight of the meeting. One of the few jazz ballad tracks Ive made. I carved the dynamics of the acoustics to be in a room/venue with scented candles. It’s a very intimate track.
Call Me Snake. This is jazzy gypsy music, straight up. If you ever hear Estradasphere I imagine my subconscious picked up on that vibe. It’s the most unique. It has a tough shell with an exotic interior. It’s the longest track on the album. It’s got some wah-wah clavinets. Too many funky elements. Juno synths, Movement! percussion! Pure gypsy jazz groove. The groove builds something like a Hancock groove.
I did not want to be left with the intrigue of wondering what could have been lying on my death bed. So I am blasting out work that I enjoy doing. I also want this to serve as a mark for demonstrative purposes for future film compositions and projects.
I’ve only scratched the surface with these bare descriptions but that should do it for now. The entire album is about 38 minutes. I do all the music, concept, mixing/mastering, and artwork. I created it intermittently in a span of 4 years between making a dozen other albums, remixes and film compositions. ”