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obm-online-blog · 5 years

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Music production workshop: speak your truth in your music

E.B. -- February 19, 2019

I arrived a few minutes early, took a seat in the middle of the chairs and tables set up in the dimly lit Black Box Theater in the SDA campus. Fellow attendees filled the other seats soon, and as the clock turned fifteen minutes after one in the afternoon, Elgene Zalamea walks in to start the seminar on music production.

Zalamea prepares his laptop as the host of the workshop greeted the attendees and led the opening prayer before handing the microphone to the speaker. He introduces himself, a former writer with synesthesia-- a condition that makes his sense of hearing simultaneous to seeing color--turned music producer with the help of his ability to play numerous instruments, and explains that he chose to speak at the workshop because of its theme, Playing With a Purpose.

Truth

He proceeds to share his inspirations when it comes to music, “I’m part black, my great, great; great grandfather was black,” explaining why related political agenda expressed in Western music hits close to home. The purpose was not limited to taking a stand, music is also meant to expose. To Zalamea, an artist’s music should bare the artist’s truth to its listeners, and although the term ‘truth’ may seem to refer to something factual, a universal standard, a person’s truth may not be aligned to others’. This truth expressed in music is centered on the creator, whether or not others may relate, and that is what gives purpose and meaning to the music.

The emotional state

“Sino dito [ang] nagsusulat ng lyrics?” A few hands raised upon Zalamea’s question, coming down as he explains that although he used to write lyrics himself, he now found his lyrics to be too ‘cringey’ or too serious for his taste, which is what actually helped him focus on the emotion he wants to embed onto the sound of his music. He emphasizes on how the beats and melodies should evoke a feeling, a story to be experienced even with the absence of written lyrics. “I’m not trying to downplay lyrics,” recognizing the importance and contribution of the element to music, but Zalamea directs focus on listeners’ experience through the pure sonic elements.

He plays some of his favorite songs, as well as an original piece, through the speakers of the theater to provide examples for us attendees as he narrated the parts that make each track memorable to him, as well as a description on how he sees it-- his perception of the colors and forms of the sound waves. In the end, Zalamea sticks to his message of truth, which he believes should be a basis of art in general.

“Not just in music,” explaining to the predominantly Benildean audience that the essence isn’t bound to music, but is applicable to any form of art. He explains that an individual’s truth in the past may not be their truth in the future, but the truth was once theirs, and that is something that would help them in their journey, something that no one else can take away.

“Just speak your truth.”

#featured #workshop

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obm-online-blog · 5 years

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In the Scene: Interview with MRKIII

Julia Gannaban, known as MRKIII, is a Benildean alumnus who is on the rise as a local DJ and music producer. Her track Fell in Love featuring Dean Riley and Tryx posted a year ago racked up over fifteen thousand plays on Soundcloud, a track enjoyed by streamers, one describing the song as a nostalgic tune. MRKIII has played local gigs and music festivals, including the recent SYZYGY Festival headlined by Dimitri Vegas and Like Mike. Through the interview, MRKIII tells OBM about her experiences not only as an artist in the local scene, but also as a graduate of the College of Saint Benilde, and how her training as a student contributes to her success.

INTERVIEW

Interviewer: To start off, your track Home (ft. Nikki Bagaporo) has almost 80,000 streams on Spotify, what is it that hooks your listeners to this song?

MRKIII: Feeling ko ‘yong chorus, kasi parang repetitive siya. Tapos-- kasi diba ‘yong [sings tune] pagka kasi, ang alam ko, sa music, parang kapag may repetitive na ano mas lalong catchy siya. Ganun kasi yun, pag may repetitive na tono, lalo na kapag kunwari, yung una mo’ng tono tapos third lang, tapos balik lang, pagka ganun, usually mas madali siyang maalala ng tao, so feeling ko yun yung isa sa reason kung bakit.

I: So maraming reasons?

M: Yung sunod, kasi tunog pop talaga siya. Tsyaka noong time na ni-release ko yun, uso ‘yong future bass so yun yung parang “in” nung time na ni-release ko yun.

I: Tell me about your inspiration/s for this song. What started the project?

M: Actually, gumawa ako ng remix ng isang kanta—hindi ko na sasabihin—tapos uhm, pero for a project ‘yon, so noong nagawa ko siya, sabi ko parang pwede siya--‘yong nagawa ko nang remix, pwede siyang gawing original, so tinanggal ko ‘yong elements nong original na song tapos dinagdagan ko nalang tsyaka chinange ko yung iba para maging bago or original yung track. Tapos iniba ko din ng key and ibang chord progression and melody para talagang sarili ko na siya. Tapos, ayon, ‘yon yung inspiration ko, parang doon nag-start. Tapos ‘yong parang, pegs kumbaga, puro [The] Chainsmokers.

I: Is there a certain flow you always follow when producing music? Where do you start?

M: Chord progression. Parang maghahanap muna ako ng chord prog, tapos tsyaka ko ilalagay sa DAW [Digital Audio Workstation] ko, tapos tsyaka ko lalagyan ng melody, ng drums, and other elements. So nauuna yung chord prog bago ako magkaroon ng mga drop, ng melody.

I: Ah, huli na ‘yong lyrics?

M: [hums in approval]

I: What do you think makes a song ‘good,’ what do you consider before officially releasing a song?

M: Siguro—kasi mahirap sabihin kapag ako, sa kanta ko, pero kung sa others as a listener, depende sa music taste, pero siguro kung hindi lang ikaw yung nakaka-appreciate, maganda siya.

I: [Kapag] hindi lang ‘yong producer?

M: Oo. Tsyaka usually kapag sumikat, ganyan, kasi ibig sabihin may nagre-recall noong kanta, kung hindi naman maganda yung kanta hindi mo naman sasabihin na, “Uy! Pakinggan mo ‘to,” or hindi mo isha-share.

I: You have been part of varying different local gigs and music festivals, what is your favorite part of performing?

M: As a DJ, siguro ‘pag nakikita mong hype ‘yong mga tao, or sumasayaw, kumakanta. Kapag nagr-rave na sila, kasi pag sa Philippines, hindi lang sila masyadong mahilig sa mga one to eight na tugs-tugs, kailangan alam nila ‘yong kanta, may lyrics kumbaga. Kasi pag kunwari nagpapa-tugtog ako ng mga track na walang lyrics, or like, dance lang talaga, usually parang [nodding] gumaganoon, sumasabay lang sila sa beat, pero parang ‘di mo nakikita na talagang nae-enjoy nila, kaysa kapag nagp-play ka ng—

I: Trap?

M: Hindi-- okay lang, pero parang pili lang kasi ‘yong mga tao na nag-aano ng trap, mga naghe-headbang, ganun, hindi lahat eh. Pagka masa, usually gusto nila ‘yong mga Top 40, mainstream, kunwari ‘pag pin-lay mo ‘yong Mundo, ganun, ‘yung response nila maganda kasi kakanta sila, tapos makikita mo talaga, maririnig ko sila nasumasabay sila sa music, ganoon.

I: So ‘yong mga pinaka mainstream songs?

M: Oo.

I: How would you describe your dream gig/festival to be a part of?

M: Hmm. Gusto ko mag-ano, live set. Like, DJ and live sing. Ang nakita ko’ng inspiration doon sila Alison Wonderland, sila [The] Chainsmokers…

I: Honne?

M: Kasi meron sila noong—nag-pop-ish na sila, ginagawa nila, may live tsyaka DJ sila. Kasi diba may mga kanta sila na nagpo-pop na, nagma-mainstream, tapos DJ sila parang hindi sanay ‘yong tao sa ganoon, ginagawa nila parang may band set up. So ‘yon yung gusto ko’ng mangyari, parang may band-ish na set up tsayaka DJ.

I: Please describe what the transition was like from being a music student to graduating and becoming a full time solo artist.

M: Noong student, parang ‘di mo pa naramdaman na shocks, kailangan mo magtrabaho, ‘di pa nakaka-pressure masyado na, “Ay, kailangan ko na gawin to,” noong graduate na, kailangan alamin mo na kung anong gusto mo’ng gawin.

I: [Is it] fast-paced?

M: Noong sa school, yung learning fast-paced, kasi maikli yung terms sa CSB diba? So parang, kailangan matutunan mo na siya in like, three months, ganyan, eh hindi naman ganoon sa music eh, hindi lang siya parang ‘pag inaral mo siya, yun na yun. Kailangan mo i-practice eh, so masyadong fast-paced noong sa CSB.

I: In what ways has being a Benildean helped you in your career as an artist today?

M: Dami. Parang, lahat ng—siguro 80% ng—‘di naman, mga 70% ng natutunan ko or ng ginagawa ko, ayun, natutunan ko sa CSB. Yung mga mixing, mastering, recording techniques, tapos mga film scoring, ganun, parang ‘di ko maimagine na magagawa ko yung mga ganoon kung hindi ako nagaral sa CSB. Like, if sa bahay lang ako, parang feel ko yung mga ginagawa ko ngayon, ‘di ko siya magagawa, parang ‘di ko maiintindihan. Tapos, ano din, connections, ganyan, kasi kunwari ngayon, ‘yong mga kaklase ko dati [mentions fellow musicians], if wala ako sa school, ‘di ko sila makikilala, ‘si rin ako mao-open doon sa parang scene nila na band industry, tapos ‘di ako mao-open sa ibang opportunities, like yoong mga film scoring, band arrangement.

I: Are there experiences from your days in college that you often look back at as you produce music or as you perform?

M: [Hums in approval] Siguro kapag, kunwari nagre-record, minsan yung mga techniques ‘yong naaalala ko, or like ‘pag sa mixing, kung ano yoong natutunan ko sa mixing sa school, ‘yun don yung ginagawa ko ngayon eh, so parang ‘di ko matatanggal yung mga natutunan ko sa CSB, so kahit anong ginagawa ko, lagi ko’ng naaalala ko yung school. Kahit kapag, nagpo-produce ka kunwari, chord progression palang parang, syempre ayaw mo naman na parang kung anu-ano lang, so minsan magtitingin ako sa notes ko, or inaalala ko yung topics tapos tina-try ko ilagay sa music.

I: Who are your main influences when it comes to your music?

M: Skrillex, Martin Garrix, Alison Wonderland, Ariana Grande, and Justin Bieber.

I: Tell me what sets you apart from other artists in the scene.

M: Babae ako. Kasi, ‘diba? Masyado kasing ano eh, puro kasi lalaki. Tsyaka hindi lahat ng DJ kasi nagpo-produce, so parang pag nagpo-produce ka, parang, “Ahh, okay, cool, iba.” Tsyaka, bata pa ako, ganun, kasi usually diba pag DJ dapat eighteen pataas, ganyan, kasi club, so parang ‘yong mga kakilala ko nga twenty plus na, parang ‘onti lang kaming kaka-bente lang.

I: Before we end the interview, what advice would you give to Benildeans interested in pursuing a career as a local artist in the Philippines?

M: Uhm… Marami artists na ngayon, so kailangan alamin mo talaga kung anong gusto mo. And even though, kunwari parang feeling mo parang madaming competition or feeling mo ‘di ka good enough to be an artist na kasabayan sila or something, just pursue it parin, especially kung ‘yan ‘yong nagpapasaya sayo, kung ‘yan ‘yong nagbibigay ng satisfaction, ‘di mo na kailangan ng validation para gawin ‘yon.

#interviews

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obm-online-blog · 5 years

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Ena Mori: The Life of a Starving Artist

I.R – February 20, 2019

Photo courtesy of ______

It was 40 minutes past 5 p.m. when Ena Villa, known as Ena Mori, arrived at the coffee shop where we’re meeting. Ena was only wearing a simple white shirt, skinny jeans, and a beret hat yet she still managed to catch everyone's attention at the store.

She recently graduated at the De La Salle College of St. Benilde wherein she took AB Music Production as her degree. Her debut song, 'Got U Good' already earned her a spot at the Spotify Indie Mix Playlist in just a week after release along with other well known OPM artists such as Autotelic, Clara Benin, and IV of Spades. She also got featured in numerous local websites –labeling her as the "New Artist To Look Out For"– which helped her gain gigs and attention from the public or "masa."

After hearing all of these, one would think that her path to reaching her dreams would be a smooth one. "The general public likes the mainstream and pa-cute songs kasi eh," Ena said. "That is why it's hard for starving indie artists like me to get recognized and like me or my music." She mentioned that her boyfriend, who's also a musician, is currently working with a famous singer who's in the mainstream scene. "Tim doesn't like it. It totally sounds like a bootleg version of Ariana Grande's Thank U Next. But hey, she wants it. The masa wants it. What can he do about it?" If one were to describe Ena's music, he or she would say that hers is more on the indie pop/electropop side with a hint of jazz–totally not pa-cute and mainstream.

"Dito sa Pilipinas, kung gusto mo ng pera, doon ka sa masa." A saying that I frequently hear whenever I attend local gigs and art shows and get to chat with other musicians and artists. True enough, Ena admitted that ever since her last day in Benilde, she's been struggling with money. "My dad does not give me allowance anymore. I really depend on gigs for financial support." She said that in a month, she only gets 1-2 gigs. Per gig, Ena and her band–that consists of 2 people receive 3,000 pesos. "3,000 pesos might look like a large amount of money to most people but since I have 2 more people who play along with me– I only get 1/3 of the money." Her face expression changed to a somber one while telling me the rest of the story. "Now, with that 1,000 peso bill, half of that goes to my transportation fees." Most of the time, Ena 'grabs' her way to gigs since she has to bring her own equipment such as her 88-Key Keyboard, audio interface, and laptop–making it impossible for her to consider commuting.

"But despite of that, I'm still happy," Ena mentioned after daydreaming of buying her own car. "I get to connect with people–not just with my friends and family but also with strangers through music." For Ena, fame and money comes second. What's more important is she gets to show and share her gift to the world. "There are a lot of good artists and bands here in the local indie scene. People just have to go beyond their usual everyday playlist for them to be heard."

Today, Ena is busy in writing and producing for her new album. She recently released her new song titled 'Telephone' last February 1st. Stream her track below.

https://open.spotify.com/track/3T0sA5coWrKf4SzQv2YNxc?si=0wM_F10aTkOp-nnrZI9E3w

#feature #indiemusic OPM #featured

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