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[flyoutlet-blog]

Shrinkage!

flyoutlet tries to be a source for discovering and interacting with new & different artists on a medium that does not require anything back from the reader. The site uses specific tools to function while not collecting user information or invading privacy.

The tumblr was there to give flyoutlet’s posts exposure to a larger audience, but when no one is seeing it, and even I would rather refer to flyoutlet’s site, time is spared by not using it at all.

Short said, this tumblr is no longer a branch of flyoutlet’s media.

Beware of something sharper soon on flyoutlet.

[flyoutlet-blog]

ONUMI, pack of action

Last week, we talked about eochi.

Next on the list is the Michael Bay of music. Some would stack layers to fill up the air, while some would do it another way. Rarely letting the intensity decrease, or bring the song out of sight, here on flyoutlet is onumi.

onumi's just a way to express what's going on in my life, and for some reason it's gotten an audience to express to

- onumi

The title I bring you today, pack of action, mainly came from what I associated with “Before My Body Is Dry.” This was the first song I heard from onumi. The concept slowly forms in the intro, but is there for the rest of the track. Regardless of how few elements onumi makes use of in the different parts of the song, the air is constantly full of action, something happening, and there is always something that fills in to maintain this action. Relistening to be able to explain this made me want to say it was the percussion, but while it is also the percussion, it generally seems that the few elements are played at a rate where I’m not left without something to focus on. It’s all so wide and surrounding that it keeps you aware.

Of course there’s no thinking of action when looking away from the deeper perspective. There is only experiencing it. The song introduces vocals that do like the the few elements, and fill out the space to keep the air full. As a bonus, there’s an altered layer of vocals underneath. Towards the drop, the gear is shifted and the speed goes up, and instead of the slower more vocal-oriented part we’ve just listened to, the bass breaks through the drop, and the vocals turn into a sort of lead that covers what the bass couldn’t.

i agree, my music is usually very ADHD in a way. i don't aim for that, but it comes out from how i write my music. I write it in chunks at a time and try to avoid using too many loops or repeating elements, so that usually leads to really weird / interesting places

The cover for “Before My Body Is Dry”

More recently is what onumi has turned into a two track EP, the “DESTRUDO / LIBIDO EP.” With “オヌミ - デストルドー (DESTRUDO),” the intro isn’t as action-packed, but the more you hear of the drums after that, the more you know something is coming. From a small bass to one that is just destructive, I’m put back in awareness, and surprisingly still being able to listen to the music casually. A thing I really liked about this track was the glitching used in the drop. I got taste for the way onumi put something small in a glitching loop and took it far with change of effects and tempo.

the EP is 2 tracks from an album i was making, i decided to take a different approach to writing the album so i released what i had made so far as a short EP.

The second half of the EP, “オヌミ - リビドー (LIBIDO)” brought something that made me more as curious as it had made me worked up by action. Already at the start are so many different things suddenly making their way into the track, and it left me curious of what the next thing could’ve been. I was wrong most of the time. But from “オヌミ - リビドー (LIBIDO)” I gained that onumi has control of the tempo. onumi’s playing with it as changing it was nothing and it works. Opposite to “Before My Body Is Dry,” the drop here slows down and regains speed when it’s almost over, but it comes naturally when listening to it.

The cover for “DESTRUDO / LIBIDO EP”

I looked out for “オヌミ - あなたの嘘 (YOUR LIE)” before and while writing this. When I finally got to listen to it, I knew I should’ve expected the drop but I was caught off guard. I was also caught off guard when the break wasn’t as intense as I had thought it would be like the other onumi tracks I had just heard. All those strings that introduced me to the second drop made everything chill, and “オヌミ - あなたの嘘 (YOUR LIE)” somehow became a calmer listening experience.

i actually don't really try to aim for crazy energetic stuff, i used to not even really be able to make it (i used to make synthwavey chill stuff) i'm not really sure how onumi landed on doing crazy bass stuff but it just kinda happened and now it's how i can express thoughts

I also looked out for “オヌミ - あなたの嘘 (YOUR LIE)” because that was the one to make me start looking more carefully at the cover arts. This track’s cover art was the first to catch my eye when I first heard of onumi, but now having listened to multiple tracks, I take a second look and discover how they could relate to how I’ve spoken about the tracks. While there isn’t so much on them, they are still made in a way that brings more than what it is at a first look. It goes again with an illustration and words that are formatted to be wake interest. I’d rather take that up with onumi.

i make all my own art, i recently remade all my old covers and now i'm using 3d models. The models are made in a character creation type thing and then i do the textures colors and lighting in blender, export them to photoshop, and edit them. The art for destrudo involved purposely corrupting the model and making it super glitchy.

The cover for  “オヌミ - あなたの嘘 (YOUR LIE)”

Besides original tracks we’ve newly discovered, onumi also has a couple of remixes where her style goes through. The remix of Porter Robinson’s “Sad Machine” is the one I’m currently stuck on. onumi had a great spin on this song, and there are more remixes and collabs to discover for yourself. Learning that “Before My Body Is Dry” was a remix itself, was quite surprising.

before my body is dry is actually a remix of a song from the anime Kill La Kill by the same name. [...] Was very fun to make, nice way to show off my more musical side that people sometimes don't notice underneath all the loud noises

Having listened to a part of onumi’s discography, and now knowing more of what’s going on on onumi’s side, I am excited to hear what the future brings. onumi’s music is definitely something more people would want to hear, but haven’t heard yet. Maybe it’s time.

Listen to onumi’s music here:

soundcloud.com/onumi

- flyoutlet

[flyoutlet-blog]

A look into QUO

November 23rd, QUO was featured on flyoutlet.

While making the post, I had several questions for QUO. Getting answers to those questions only made me more curious, and want to ask more. The concepts he had shown, and the answers he had given were really interesting, so I sought out to be able to bring this. Here is a look into QUO.

First I wanted to know what QUO was. What is it to you?

"quo is, to me, kind of a story book to my life. i write about things that i struggle with daily, and a lot of topics that i can’t necessarily comprehend, such as the end of the world, death, the afterlife and, well, day-to-day existence. i don’t like to make my music seem deeper than it really is, because i know how many things there are that i don’t understand. quo is merely an attempt at interpreting life through music."

When did it all start?

"i think quo started in spring of 2017."

And how did it all start?

"i was struggling with understanding what my purpose was, and imagined many others were as well. i saw successful people being unhappy with their lives, thus creating the mascot that i based the project off of; a sad face in a business suit. i wanted to dress up like that in an attempt to build some sort of character in the same way that many other successful artists have done. quo was supposed to be social commentary in a way, but i quickly grew tired of trying to make things that stuck to that idea. for a while i thought i was failing at building a brand, but i realized that putting myself through the process of a strict branding would only be hurting my musical ability, considering i was and still am searching for my sound. i figured letting the alias build itself up would be the best way to go about defining what it is."

As we've looked back on QUO's history, is where it starts truly the start? Is "When Dreaming" your first official release, or has there been earlier material?

"my music used to be terrible. if you want to hear my old stuff, go look up “benjoi”, but be warned, everything before the “days that remain” EP is petty horrendous. i’ve kept it up as an archive of sorts.

The cover art for "Days That Remain."

What does your typical work process look like? Are your songs planned or made on the spot?

"i rarely plan out songs. most of the time, i start by placing some sounds into a sampler and seeing what i come up with. I'll usually make a sub bass in serum, add some drums, and if i like the beat enough I'll add vocals. after that point I'll decide whether or not i think the song is worth continuing production."

How would you say your music has evolved?

"honestly, besides me learning how to mix better and take on more challenging production styles, i’m still, at heart, the same kid that started making music in garage band in 2015"

With your latest releases, are you narrowing down a style or are you still trying to branch out?

"i’ll still definitely be branching out. you won’t see me putting out any screamo or trap in the near future, but yeah, my music is going to vary extensively for as long as it can."

And with your latest, "in aere," and its concept that you mentioned in the feature, where did the assocation with something spiritual start?

"my interest in spirituality started in 8th grade… I’d rather not speak publicly about what initiated this process."

Understood. Do you however plan to make more music with this concept?

"absolutely. the idea of existence beyond or even parallel to the physical realm has always been extremely fascinating to me."

Listening to "Knowing" always makes me wonder, is it something that should be interpreted or are you talking about something specific?

"knowing is actually about the rapture (metaphoric or literal, whichever you believe) and the powers that work to bring it upon the human race. it is about the force that has seized control of the hollywood film/music industry, food industry, education system, etc. i’m somewhat of a conspiracy buff, and i do believe in a shadow government. i tried to disprove of their existence for so long that i ended up “knowing” too much to be able to deny the presence of an elite group/cabal. my logo as ‘benjoi’ was actually an altered version of the ‘killuminati’ sign, which tends to depict an all-seeing eye being crossed out or eliminated in some way."

Benjoi's profile picture.

With all this, is your music just "music" to you?

"absolutely not. my music is basically me if i could be sound waves…"

I like that. Lastly, "in aere" is still very new but are you working on something right now?

"i’m working on a brand new indie pop song currently. stay tuned, because i’m so happy with the way it’s turning out"

QUO. Thank you.

When I was making the feature post, listening to "Love & Shame," I asked whether or not QUO's songs made progress easily. Here he gave an answer I couldn't let out of this post.

"writing lyrics, i like to believe, is my biggest strongsuit. i think part of the reason i stopped doing strictly instrumental music is because i realized i was doing myself a disservice by not using my writing skills for musical purposes. lyrics slide off of my brain like butter in a pan. I tend to stumble over my words in day-to-day conversation, but when it comes to pen and paper, i feel unstoppable."

Learning about the history of QUO and what has and is currently shaping him has been an interesting time. While I'm always curious and interested in knowing more, it might be hard to ask questions without being repetitive, so my curiosity will have to be answered when QUO shifts into sound waves. Thanks again to QUO for his participation, and look out for his new Indie Pop where it is first:

soundcloud.com/quosongs

Meanwhile, give "Days That Remain" a listen. It's worth it.

- flyoutlet

[flyoutlet-blog]

EOCHI, a new wave

Last time, we talked about acloudyskye.

When all beats start to look like each other and form a generic scene, there will always be someone to break the chain. With a take of his own, creating beats unforeseen, here is eochi.

eochi (어치) is korean for jay, it also means worth, but can also mean idiot depending on usage of the word, im half korean

- eochi

eochi centers himself at making beats. The first thing you might think of as a beat in modern day could most likely be your typical kick, hat, snare, clap, sub, and a sample, real Metro Boomin style beats. This is though something else. When I first heard “6,″ the intro gave me an invitation. I wanted to reject it when I first heard how it continued, but felt the urge to stay when I listened to it. Through eochi’s hard flow, one thing started to stand out, and that was the use of electronic elements. I thought it was strange. What were they doing in a beat like this? I waited in anticipation for an answer on this, and the explanation was exactly as deep as I thought.

um idk i think it sounds neato

I curiously move on to his other songs. “everlasting” was faster to have me on my toes. While it still includes the electronic elements, I’m surprised by the snare roll eochi brought. Panning around, pitching, reverbed, and generally giving an odd divine feeling, I was in awe. eochi has said the vocals are a cutscene from Final Fantasy XV, but the main focus was really the snare roll. “highwind,” “bahamut,” “gone,” “crystals,” while they all have a different and unique vibe, they share the same roll.

making the same elements in your own songs helps people recognize that its you when they hear it. i also do this by putting the same “hahaha” sound in my songs

The cover for everlasting.

Suddenly came “you make me smile (ꈍωꈍ)“

when i get bored with music i switch it up to keep me motivated

“you make me smile (ꈍωꈍ)“ steps away from eochi’s usual style of beats, and goes more into the electronic field. It starts off by going into the saws and waves of future bass, and out of the darker setting of the beats we heard before. We’re accompanied by soft sounds and an atmosphere of nature. The build plays along, but hearing eochi’s tag before the drop makes it drop the mask. eochi smoothly gets his sound implemented, and we’re left with a beautiful fusion of future bass and trap.

eochi once again goes out of his usual style of beats with his demo of the “ULTIMA KIT.” Using sounds of this kit, he shows his ability to make a variety of different styles. I would try to comment on my personal favorite but listening to the demo again makes me want to say all of them are my favorite. Though the ability to make all these different beats is shown, eochi has said that he does not think there are plans to make more in this style. For the ULTIMA KIT itself, it is better explained by eochi himself.

i made that kit for people who wanted to make music and did not have money to afford a kit of their own (most of the time artists make kits by putting their own sounds in a folder and then selling it) right now it has over 350 downloads and im glad people liked it

After having heard the demo to get an idea of what is in the ULTIMA KIT, it’s safe to say I will be downloading it, and you should too. It shouldn't be the only thing you're aiming for.

eochi's got a style of making beats that's overshadowed by more modern ones. For what he has so far, he's underrated, and a lot of people and essentially artists are missing out on this. You shouldn't be one of them.

Listen to eochi’s music and download the ULTIMA KIT here:

soundcloud.com/eochi

- flyoutlet

[flyoutlet-blog]

November 2018 Mix

This is something I was excited to do since day one. I present a mix of flyoutlet’s first batch of featured artists and songs.

Making this mix was fun. The songs went together well in various orders, but in the end I liked it in this order, because of the rather smooth transitions. They are neither bland or exaggerated. It’s crazy to take a look back at the first month of flyoutlet, and see how it has evolved both in post quality, and site optimization. I hope flyoutlet continues to grow and connect with more artists and readers, so they can discover each other.

I’ve told several people that these were monthly mixes, but I didn’t realize its difficulty. I’d need to have 4 artists, 4 other songs, and time to mix and render (many hours) and I just can’t do that without exhausting myself. So I return to my original plan with quarterly mixes, which I had let people know before. Stay tuned for Q1 2019. Looking forward to a bright future with flyoutlet!

Again, to the artists that share their work for the world to hear, thank you!

Tracklist:

John Mode - made you feel

SITEX - Stop

QUO - in aere

sylcmyk - taste

acloudyskye - Parting Gift

TOMSIN - Polaroid

cactus flower - fragile (w/ fair dawn)

YZI - Talking Mirrors

- flyoutlet

[flyoutlet-blog]

ACLOUDYSKYE.

Last week, we talked about QUO.

Rarely do I ever hear music that hits me deep. This hasn’t happened here either, no. This music got to the core of me. On flyoutlet, closing the month of November, I present, acloudyskye.

Compared to previous features and posts, you might notice this one is missing something after acloudyskye’s name in the title. You’re not wrong, but there’s not going to be anything either. After I heard acloudyskye’s music, I was speechless. I had considered a few things to add onto the title but no words could compare with what I had heard.

The comment section of Vanishing Point.

The first song I heard was “Vanishing Point.” The opening felt nice and airy, but the flute that was a bit loud already hinted at something being off. While listening, I checked out acloudyskye’s profile where the bio read, “a story from a broken place.” The first synth that was introduced could easily be linked to the words in the bio, and when it was joined by saws opening up the space of the song, I actually started getting excited for what was coming up. Never had I been so wrong in my expectations, and at the same time been so happy about being wrong.

The cover for “Vanishing Point.”

I have this kind of dystopian world in my head, and whenever I try to make a song I try to imagine the song as a short story taking place in that world in a grand overarching plot hence, “a story from a broken place.”

- acloudyskye.

The drop. It kicks in, and everything is so big and tight that there is no space left for words. The room the saws opened up for just a moment ago? The drop exceeded the amount of room given, and had it been an actual room, it would’ve torn down the walls, and went on forever. The only thing I could do in the moment was to sit and stare in amazement. We’re only talking the first 4 seconds here. A bass goes wild, possibly to give the listener a quick break from what’s just happened, but it does not work out at all, there is still full gas on the song’s quest to be absolutely everywhere. I had to know what inspired this.

A big one was Disasterpeace and the soundtrack he did for the game Hyper Light Drifter. All of his synths have this kind of liveliness to them where they bounce around in the stereo field and disintegrate which contrasts the overall somber mood in the world of Hyper Light Drifter. That contrast definitely drove me to write the song the way I did.

I continued with “When There Were Others,” and while it is not as brutal as “Vanishing Point,” it would definitely have brought the same reaction out of me if I had heard that before “Vanishing Point.” I believe acloudyskye’s ability to make multiple songs that could get such reactions shows the quality of his crafts. “Parting Gift,” keeps acloudyskye’s flow, but it also becomes something on its own. It mixes the previous broken sounds with bass that goes so hard it puts you in a trance. The further back we go in acloudyskye’s music, the calmer the songs became, and then I doubted whether or not it had always been a story from a broken place.

Around Junior year I started getting really stressed out and just wanted to vent which is when my stuff started getting a bit more violent sonically, although I would argue that I’ve been making distorted stuff for a while, it’s just not until now that it’s come from a place that’s sincere.

I tried not to write about lyrics in this post, but I feel that I have to. acloudyskye’s music had my full attention already so the lyrics weren’t easy to miss the first time. As acloudyskye does not usually include lyrics, the times where he does, it turns out great. The lyrics we have seem short and subtle, but they easily leave an impact. In both “Vanishing Point” and “Parting Gift,” there are 6 small lines of lyrics. Just those 6 lines quickly become personal, and leave a big opportunity for interpretation. The lyrics in both of the songs stayed in my head for a while.

[...] a lot of the times I write in a way that makes it easier for me (lots of prolonged vowels and pauses between lines). As for the content in the lyrics, I like keeping things vague because I find that talking about a specific subject distracts from the overall feeling that I'm trying to convey through the track.

The cover for “Parting Gift.”

Throughout, I noticed something about the cover art for his songs. Unlike his first tracks, they used similar color schemes and styles. Most of them look unrealistic, abstract, or made up, and that’s where I realized the cover arts could’ve been connected to this dystopian world acloudyskye mentioned earlier. The image above shows the cover art for “Parting Gift.” Dark colors, sinking ship in the background, unrealistic looking boxes, and a main character in the middle that also appears on some of the other covers. Did we get a look into this world?

I try to make them reflect the song while also fitting them into that whole "short story in a world" thing that I'm going for. As for the use of color I like sticking to the primary colors used for computer displays (rgb) as well as using desaturated/pastel shades of those colors, makes it look kinda bleak which I like a lot.

To conclude, acloudyskye brings music you definitely do not want to miss out on. There are loads of songs already to listen to, and what acloudyskye pulls out of his dystopian world next, we can only wait for in anticipation. I remain speechless.

Listen to acloudyskye’s music here:

soundcloud.com/acloudyskye

Look out for a surprise this coming week.

- flyoutlet

[flyoutlet-blog]

QUO, inner language

When I thought I had heard music that spoke with emotions, it seemed that I hadn’t just heard it all. Something greater was out there, and now on flyoutlet, here is QUO.

QUO is an artist that goes on with surprises, most visibly in his latest track, “in aere.” QUO pushes the pop-like flow, and over it speaks deeper than you would usually hear in pop music. The outstanding vocals are unlike the regular talk, and a great example is “All Me,” where QUO talks about maintaining insanity to keep his individuality. Normally, lyrics are to me easy to just blend in with the song and pass on. In this case though, I listened to one line and felt that I had to hear the rest.

“in aere” was the song I first heard from QUO. During the intro I felt that I didn’t have to hear more of it to know what type of song it was. Glad to say I was wrong. The short build introduced a simple but semi-heavy drop, and the main part of the drop was a flute. It was really strange to hear, but that was because it was so unusual. One thing I loved was the flute, the other was the questions the song came with.

i think the song is ultimately about death and the afterlife, as well as the fragility of human nature and what might cause our demise. the concept of death is shrouded in fear and mystery, but in my eyes, it is such a beautiful part of life.

- QUO.

“in aere” goes in various directions with its percussion and how it’s panned. They’re plainly obvious and easy to point out, and it isn’t difficult to say that they help shape the song. Here’s where something happened that made me stop paying attention at the second drop. As I said that the different sounds were obvious, QUO breaks this with a subtle heart monitor that goes flat. Instead of just hearing it and moving on, it had impact on the first listen.

physical death, ego death -- no matter how you interpret the heart monitor, i wanted to give a general sense of letting go, moving on and being at peace with your reality. [...] i wanted to play into the process of this transition from physical to metaphysical; in other words, transcendence.

Digging more into QUO’s discography, I notice that there are less and less words in his older songs, but they reverberate QUO’s newer lyrics more and more. While it’s not talking any longer, it's still speaking this inner language. One example I would like to point out is “FML.” This song starts off with a mood similar to QUO’s newer songs, and though it can contrast to them, it continues down that path. Just having listened to other songs by QUO I feel the atmosphere of the lyrics are still there.

Further into it, I notice that the two first tracks of QUO become out of balance with the rest. While “Anywhere” is something you can chill to, and “When Dreaming” is a heavier trap song, they significantly differ from QUO’s newer tracks. Questioning this brought out an answer that explained this, and more. The short version is as follows,

i wanted to build a strong brand around going against the status quo [...] if i were to live up to my name, i shouldn't be afraid to Branch out and explore as many different genres as possible.

The longer version with definitely more to explain comes soon.

What I have on repeat right now is “Knowing.” I of course love the beat of this song but what I want to point out are the vocals and their processing. The delay here is taken in multiple directions, and while QUO talks about no one knowing the way, no one knows the way of these vocals either. Each delay has an offset and panning that isn’t common, and the way it infiltrates and affects the drop is quite on point to me.

QUO is an exceptional artist. With quality that deserves to dominate radio stations, and music that’s unlike the most, I’m glad to have him here.

Listen to QUO’s music here:

soundcloud.com/quosongs/

- flyoutlet.

[flyoutlet-blog]

cactus flower, digital bristle

Last week, we talked about sylcmyk.

Now on flyoutlet, we take a step into the small desert on the window sill. While it’s not so dangerous in person, it’s dangerous with its music. I’m talking about cactus flower.

There’s a line drawn between completely electronic music and music that simply uses electronic elements. cactus flower seems to be a bright beacon on the completely electronic side. He uses very little to no amount of sounds that aren’t digitally made, and the quality he is able to deliver this way is over the top.

The first I heard of cactus flower was the song “fragile (w/ fair dawn) (vip).” The start of this song led me to believe I was on my way to something slow. The single note lead me to the rest of the elements, I was set. A soft vocal started and strings were there too. I was right. That was until the song actually started. A strange noise in the background grew, and then the drums kicked in, and with every beat, my jaw dropped even more.

i started fragile after buying underscores 3 step skincare pack and it sort of started as a doodle made out of only samples from it. [...] soon after fair dawn DM'd me asking to collab so i offered up the demo of it which if i remember correctly was just the intro and the drop.

- cactus flower.

One thought I have to get out there, is that the distortion in this song is beautiful. While the tempo’s high, there’s a vocal panning around, and there are lasers all over, the distorted beat just had a great execution. I feel that this is what gives the VIP its character and difference to the original song. The VIP of course looks like the original song “fragile,” done with fair dawn, which delivers a slower, chill vibe if that’s what you prefer.

mainly it was just a swap of the few things but i think it is cool how just changing a few things can rlly switch of the vibe of a track.

I didn’t have to say goodbye to that distortion though. I went on to hear more of cactus flower’s work and there was the “growth” EP, going over three songs. “sight,” “sync,” and “session.”

i made sight first and thought it would be a really good start to a big project, which was originally gonna be an album (which i have restarted since then and am working on now) but i just ran out of time and couldn't make myself put enough effort into more than a 3 track ep.

“growth” to me funny enough sounds like growth. From the first to the last track, it sounds like cactus flower takes more control over what he makes. Sounds become clearer, louder, and cactus flower is able to twist the track more to however he wants, as if he’s able to make a track more flexible. 

What I said about the distortion before still applies. Although lots of these electronic sounds seem simple, the distortion comes in to remove their simplicity. Not only did “growth” bring back the sounds I had heard, cactus flower also has a bunch of different remixes that maintain the minimal use of non-digital sounds.

Cactus flower has a bunch of original songs and remixes, and I urge you to give them a listen. He frequently brings new music, although he tries not to.

i've actually been trying to cut down on uploading so frequently haha. sometimes i just can't make anything at all and other times i've made most tracks in 1-2 days. rlly just a matter of how i'm feeling and if inspiration hits.

Find your way into cactus flower’s music here:

soundcloud.com/cactusflowermusic

- flyoutlet.

[flyoutlet-blog]

SYLCMYK, 8-bit pianist.

Last week, we talked about TOMSIN.

Next up on flyoutlet is an artist I’ve for a long time seen as underrated. With a mixed discography of beautiful piano scores and 8-bit marvel, I present, sylcmyk.

sylcmyk is one of the artists to go to when it comes to music you can relax and get cozy to. sylcmyk has a growing collection of beautiful piano compositions that are sure to ease you up. What’s likable about these compositions are how active and full they become. In mere seconds, they travel far and wide on the scale, and often they sound like pieces that you’d hear in the background of a film. They don’t even need a film though, they make up their own story.

When I'm alone I can feel my mind taking me to the next note, chord, arpeggio, progression before my fingers can catch up.

- sylcmyk.

Of course, in the bunch there will be electronic songs which might be pumping, or has a tempo that isn’t that easy, but sylcmyk makes sure it treats you the same. sylcmyk keeps his style throughout, when the compositions he’d play on the piano get played on something else. Flutes, strings, and the sound of a Game Boy are here plucked, essentially to have the sound of a piano dipped into another sauce. Although a lot of his electronic music is upbeat, sylcmyk does his thing to keep it sylcmyk, and assures you a calm experience.

I got into electronic music in my teens but the piano has been my habit since I was 4 years old! Video games like Dance Dance Revolution and Beatmania IIDX are why I became interested in producing music.

The mix.

Among the pianos and electronic music, there is something in sylcmyk that I believe adds on to why I think he’s an artist to get on here. While listening, you’ll suddenly stumble into something else, a mix, where sylcmyk starts off with making a pure instrumental, to then latch electronic elements onto them. One example I want to give here is “Taste.” This song starts off with a calm and easy beat, until a darker bass synth comes up in the lower end. This addition created depth, and at the same time gave the song a new shine. If you’re checking out sylcmyk’s page, there’s a lot more of it to be found.

My discography is like my personal diary. It's great going back and listening to things I wrote as far back as 2006! I have hundreds of unreleased material that I use as a source material.

Slow down a little and relax to sylcmyk’s music:

soundcloud.com/sylcmyk

- flyoutlet.

[flyoutlet-blog]

John Mode - made you feel

And now, a new type of post on flyoutlet. This time, the spotlight is on a specific song I’ve been listening to a lot lately, and now it’s yours. It’s John Mode - made you feel.

The first time I heard the song, just the start of it surprised me. The way John used a reversed vocal sample to open the song, it just seemed like such a different approach to me. The fine keys and strings underneath just made me easy, it made me feel like I was on my way to a setting much like what’s on cover art.

At first, the vocals just reconciled in with the rest. At first. When I started taking the vocal and the track apart, the thoughts and emotions appeared too. “so many times I heard those words but they didn't reach.” 

Short and simple really, addiction. It’s sort of my own story about it.

- John Mode.

I got more into trying to comprehend what John was talking about. Something was clear. There was a relationship. This relationship was obviously neglected, with John saying “at the time I didn’t care what it made you feel” over and over again, but why? Distracted by my questions, the song builds, and the drop leaves me without words. It sounded so bright and wide with its saws and with the vocal chops, just consolating in this situation.

For each verse the person becomes more aware of his own issues. From the beginning he is too captured in his thinking that he isn't able to care or think about other people. Gradually reality comes in and it becomes a harsh journey of realizing that you might lose the one person you love the most in the road of recovery.

With John’s explanation it seemed easier to understand. In the first verse he was deaf to the words that tried to warn him. In the second he realizes that someone actually believed in the things he could do, and in the third, he dusts off his shoulders to take a new look at the things he can do. Although he can’t get her back, he wishes for her to see the new him.

At times it has been hard to keep working on it, mostly because of the message. When you're writing something personal it's hard to stay objective since you get so caught up on the emotion that you're trying to deliver.

The second build energized the song majestically, but I have to say the third drop really took the prize, putting away my words for that build. Instead of taking my breath, the short snare-break in this drop allowed me to breathe and experience it freshly.

Listen to John Mode’s “made you feel” here (or on this page):

soundcloud.com/johnmode/john-mode-made-you-feel

- flyoutlet

[flyoutlet-blog]

TOMSIN, florals ep

Last week, we talked about Yzi.

Now on flyoutlet, is a person I’ve waited to tell someone about for months. TOMSIN is an artist who releases periodically, but the wait’s worth it every time.

TOMSIN recently released an EP called “florals,” and it’s basically what you couldn’t expect of him. At least, from how I saw TOMSIN, I could never have expected it. TOMSIN goes over his mind and his feelings in what’s at first four slow, intriguing tunes, but ends up going from just those tunes, and to songs that become memorable, passing their vibes onto you. On the EP, the songs go from having bright saws with a rising mood, all the way to dark bells in empty places, all flavored in TOMSIN’s distinctive style. The simple underlying drums and percussion could only be the final ingredients to make the taste of these songs sweeter. In all four tracks, vocals are provided, chopped, and polished by TOMSIN himself to your ears’ liking, and while they create a great connection to the tones of the songs on the EP, I wouldn’t really say these vocals are just talking about anything.

I decided to just make these tracks for me, with no expectations. They contain some of my deepest thoughts and emotions because they were made for me. I just had some things I needed to express and music was my answer.

- TOMSIN.

As part of these emotions brought with this ep, TOMSIN’s lyrics, like he said, bring forward the deeper part of his mind we don’t know about, and they come across things that are very personal to him, like in “AFTERLIFE,” saying “but still i’ve got these demons that no one else can know.” Despite the lyrics, the track has a pad in the background that contributes to pulling you closer to the track, until you're close enough to actually understand. Regardless, TOMSIN is able to look away from thoughts like these, and assures you and I that he is going to continue to rule these grounds, in “NaNaNaNa,” saying “if you knew me back then, then you know by now, that i’m gonna be great, can you hear that sound?" - There's a likewise contrast between the two other songs on the EP, "Broken," and "Polaroid," but you'll definitely gain more by listening to those two yourself.

TOMSIN is an artist with potential that is slowly being uncovered. Although he’s hidden most of his material, he keeps showing improvement, and “florals” is just one of many good things to come.

I was really nervous to publish these tracks because they are so personal to me but it felt good getting them out there and I know this is just the beginning :)

You can listen to TOMSIN’s material and the new EP here:

https://soundcloud.com/tomsinmusic

[flyoutlet-blog]

changes

Hello!

Over two weeks ago I started flyoutlet, and had ever since been burning to get flyoutlet to walk on its own feet. Two days ago became the day, but I was not ready to make it official. I've now done reasonable adjustments and can say that flyoutlet is now open!

Of course here during the start, there will still be adjustments. The opening of flyoutlet also means that flyoutlet.wordpress.com is going out of order, while flyoutlet.tumblr.com isn't.

Check out flyoutlet.blog - it’s finally here!

Stay tuned as a new artist feature appears soon!

[flyoutlet-blog]

YZI, deep minimal house

Last week, we talked about SITEX.

Next up on flyoutlet, Yzi, a name I discovered months ago, but knew nothing about. Here I am today, writing about her. At the time, the name Yzi seemed like a mystery to me. After I learned about Yzi, it still did, because her music continued to give me that impression.

Yzi is a russian musician and dj, who takes a captivating spin at making house. Her tracks are often deep and groovy, driven and played with by the bass and generally just the low end of the frequency spectrum. Her beats are simple loops, but here in Yzi’s case, it becomes a good thing, because it allows everything else to talk instead. Strings, percussion, vocal cuts, everything in the background of these loops all end up becoming vital in creating an atmosphere that is characterized by Yzi. While Yzi introduces something different in every track she makes, her style of deep minimal house is maintained, making you recognize who made it. It’s like reading between the lines in a book, the simple house loop isn’t what matters, it’s what Yzi does to it.

Her latest track, uploaded a few months ago, “Bisectrix,” again easily becomes an example of the exceptional Yzi. A continuous pad is set in the background to keep the suspense, but the song gives a hollow feeling with its repeated vocal cut. The metal pluck-like sound going on at the end of every bar both contributes to the hollow mood, and the suspense kept. Something is about to happen while it is happening, and I love it. Safe to say I’m staying a fan of Yzi.

While Yzi does not frequently upload music, for what she’s got she surely remains on the playlists for a long time. As she’s also a dj, she’s got a couple of hour-long sets posted, that are a mix of songs in similar style. Yzi’s characteristics are exactly why I seek more of her music, and you might too after giving it a listen. Below, I’ve supplied “Magica” by Yzi, and I believe that listening to this can tell you more than I ever could. It shows some of the Yzi traits I’ve talked about.

Explore Yzi’s material here, there are surprises to find:

https://soundcloud.com/myzique

-flyoutlet

[flyoutlet-blog]

SITEX, sheathed heaviness

Opening flyoutlet, here is SITEX, a name I more recently became familiar with. SITEX makes those tracks that make you get your ugly face on, when you’ve just heard something go hard. Some songs I’ve been particularly attached to, are “Stop,” and “Kill Me.”

It might seem like SITEX emits a calm feeling in his music, but as the song progresses, you realize what’s actually going on. SITEX catches your attention with a brightening wave of sound to begin with, only to lower it to the point where it almost hits the floor. The tiny amount of space left to the floor is similar to how tight the tension is, before the drop comes in to break it. SITEX’ take on heaviness comes in during the drop, with sets of ear-pounding drums, while they’re accompanied by a bass that sounds like it’s breaking the ground beneath you. Meanwhile, on the surface, there’s play with more futuristic and metallic sounds, that add to the open atmosphere created by the reverberated sounds, but contrast to the tighter, darker part led by the bass.

Of course, SITEX also makes songs of different genres, and various remixes, some that maintain the concept. Recently, SITEX came out with “Hypnotized;” a song that goes easier on us, but at the same time breaks classic structure. It comes to show that SITEX is also able to be versatile in his music. I like that. 

“Hypnotized” is not the only thing that goes easy. However you interpret the song’s sudden appearance, it points to SITEX’ softer, more emotional side, SHORT. Here, the aim isn’t to go hard.

“Short came later when my dad passed away in this past December of 2017. I wanted to make something I could feel almost emotionally so I chose the name "short" which is my last name. The ideas of the tracks were to be short and sweet because my dad had a short life of his so it's kinda [a] deeper meaning to it.” 

- SITEX.

SHORT launched with a four-track EP, “Take Me Home.” SHORT takes distance from SITEX when it becomes more chill, and drops some electronic elements to adds regular elements, keys becoming one of the most noticeable. All tracks feature slow vocals, that puts you in the opposite mood, and a different place than SITEX would. Your emotions.

“No reason in creating something for no reason.”

You can find the SITEX and SHORT material here, but be ready for it:

SITEX: https://soundcloud.com/sitexmusic/ 

SHORT: https://soundcloud.com/shortsounds-mu/

- flyoutlet.

[flyoutlet-blog]

flyoutlet

hi! welcome to flyoutlet!

flyoutlet is a new music blog now in development. its aim is to share music that’s pretty cool, and give your musical tastes some new things to chew on. flyoutlet tries to be an electronic dance music source for artists coming up, bringing in some fresh sounds the world hasn’t heard before! if  you see this post already now, why not join in? flyoutlet can only evolve from here on out.

flyoutlet is also on flyoutlet.wordpress.com