The Adventures of Deadbäss

 

Since March 16th, 2009, music production has been a part of my life to this very day. It played one of the biggest roles in my life as a hobby, a side job, and potentially my career. There have obviously been some ups and downs, very similar to most artists in our current millennium, but that’s just normal. Here’s my story.

Between 2009 and 2012, these were basically my introduction into the Electronic Dance Music realm. Clearly, I was mostly just a listener and a seldom producer. It was pretty hidden in my lifestyle at the time being until early 2013. Inspirations producing music mainly came from the Canada-based music label, Monstercat and a Norwegian underground artist, Binärpilot. Unfortunately, at the time being, as embarrassing as it was to admit, I was mostly using sound loops and then used numerous effects to alter the sound architecture in ways possible to create something a little more unique. I, at the time, followed the motive of being one of the youngest producers. However, that never happened.

August 1st, 2013 was when I changed out my musical name to Deadbäss, hence this entire blog. During this time, I was literally homeless and had to live with my cousin for about three weeks (of utter hell). Around the same time, I began to pursue my photographic career. This ended up with the result of changing my handles and usernames across all social mediums ranging from Instagram, Twitter, Facebook, a new SoundCloud and a new YouTube channel. For over three and a half years since the day this blog was written, I have been known colloquially as @Deadbass_, TheDeadbass, or DeadbassOfficial.

Early Releases

Conspiracy is the one of the only releases that’s only available exclusively on YouTube, given it was poorly developed. The project, alone, showed a major significant change to the past as it was the very first song to use FL Studio, the product from ImageLine that I currently use to construct my songs to this very day. I did have mixed feelings about creating the project, however.

Outside of the production studio, I was attending high school as a Sophomore. In Utah, the Sophomores are the lowest tiers in High Schools, so it was a huge impact as we finally moved into our house on August 21st, 2013. First day attending there didn’t go as well planned. The reason being was because the people at high school were much more up-tight than what I was more familiar with. Everyone had the newest smartphones and also spent most of their times on social mediums. All that was mentioned was Twitter-drama, new fire mixtapes on SoundCloud, or some weeaboo posting a new video onto YouTube. There was plenty of those, alright. This was the inspiration of The Internet.

The concept name came literally from one of the guys in the fitness for life period. He was basically talking about the mentioned above and that somehow drew my attention. I quickly then got home that same day when school ended and created the project. Oddly enough, the project only took me about a week to complete, at the time being, my standards weren’t so up-tight.

Cyborg was created out of the blue in alignment with The Internet. The was no actual reason as to its release and it ironically came out positively. This was also the first collaboration I’ve done with a buddy of mine, in which he named himself “Icemaden” for unknown reasons.

Modern Releases

The first half of 2014 had a really odd cluster of releases. Modern was released on the end of January in correlation of The Internet and Cyborg. After the release was made, I made an announcement and called the three releases, “The Technological Era,” as they’ve seemed to align with the social mediums and the interwebs.

Almost three months later, Daybreak was released, which marked a very large audience change and the revenue started to roll in at the same time. This was the time when trademarks were established, meaning certain instruments, patterns, and even styling. It additionally marked the branding of this very blog-site, which existed just a few weeks after its release. Daybreak received its named merely from the neighbourhood I was situated in. A supermassive community focused on close commute, a greener environment, and having some sort of connection with one another in any sort of way. Daybreak is the slowest song to date.

About two weeks later, I released Afterlight as a Mother’s Day gift. It was the most poorly developed project in my perspective but weirdly has the most video views by far, even more than Daybreak (Daybreak was the most purchased song of all releases ever made). The project was worked on for about two to three hours.

Anonymous was then released another two weeks after Afterlight, although the perception to the audience was mixed. The project was worked on for several months and was originally planned to be released after The Internet, but didn’t work due to conflicts and experimentation with FL Studio. Anonymous was also the ending point of what I referred to (at the time being,) messing around with the pieces. I then began took my musical work much more seriously as I listened to more producers out there.

The Toll

I began collaboration with an old friend of mine (who has now decided to part ways entirely prior to his Mission Call), Cameron Tolman. He generally works with acoustics but has also experimented with the digital audio workspace. We worked on numerous projects, although no names were given at the time. During the same era, my cousin, Jordan Barrington, and I decided to work together on Intelligence, which in my own perspective came out poorly as the instruments were not well distributed. It’s been known to the tiny community that has shown support that Intelligence is one of the most forgotten projects released. I’ve caught myself forgetting the project, myself, when I’m distributing a list of releases. Alongside with its release was Relationships, which was intentionally focused on mainstream house music. Reputation for the release was quite positive but had a horrible setup in the first half.

After the whole mess with Barrington was finished, Tolman and I got into a disagreement and it caused what is now known as Goodnight and Afterglow to be released immediately. This especially was noticed how unfinished Afterglow was, which then correlated to the loss of interest in the small community in which I know as Herriman High School. On a side note, four other songs were then cancelled. Those releases included Shoe Laces, Society, Grand, and Famous.

Beginning of Absence

With several issues with the computer I used to produce music on with FL Studio, releases began to slow down and numerous projects along the line were cancelled. Two months after the release of Afterglow, Indigenous was made because of the general region I was that was beginning to fade out and lose interest. It was weirdly towards the “weebs” as well. I wasn’t sure exactly how I got the name nor do I recognized why I experimented with trance music. It held many positive reviews, however. Unfortunately after the release of Indigenous, problems with my computer continued.

Numerous concepts projects at the time after Indigenous were cancelled due to the endless amounts of problems with my computer. The projects that were affected were: Savage, Vikings, Creativity, Backstabbed, Dead Nation, Ending, Trapped, Stealth, and Two.

Almost four months later, Vivid with David Strofürgaard was made. Vivid got its name after I was crushing on this girl (at the time, I had interest in women) because of her personality, natural beauty, her aesthetics, and her mannerisms. She’s a feminist but not the ones that practically go nude and act as if men aren’t important. She was something. And I had to made something special for her. Unfortunately, she rejected me so clearly that didn’t go so well

A whole month went by with a buddy of mine, Hijerarche (pronounced Hee-yaer-are-kuh) and created Gone, to signify our behalves of those who have parted ways. He was feeling an Asian-like vibe beat for some reason. At the same time, I was growing some interests into the Future Bass music as it was starting to become a thing. One song created by Grant Bowtie was a major inspiration to its creation. The structure was fairly similar but kept some of the aspects I followed into the project. The project was then released a month and a half later.

Summer 2015

A major hiatus took place when my cousin, Chancy Newbury, and I decided to start doing things together for the whole season and has almost entirely destroyed the creations I’ve attempted to work on. I made a sad attempt to revive Society and Trapped, which never was going to happen in the first place. He then decided to listen to Afterglow, a release I made almost a year ago from the time being. He began writing lyrics to the beat as I was making a revised version of the project. The lyrical version never executed but the revised beats were. It was released three months after Gone and two days before my Senior Year started.

Senioritis

During my senior year, I was almost entirely not focusing on musical productions but rather on my school work as I wanted to get into Westminster College of Salt Lake City, Utah. As we all know to this day, that never happened due to my ACT Score. For the entire Senior Year, only two releases were made. And here’s why.

I was .75 credits (three quarters equivalent) behind on my English credits because my dumbass was slacking off during the freshman years and such. I pretended to know everything at the time but then it didn’t help much to say I goofed off too often and didn’t take it as serious. Otherwise, I was actually ahead of credits as I had over 30. 27 is required to graduate in the State of Utah.

The beginning of my Senior Year, I was already starting to make some memories with some friends while I still could, however, that didn’t really do much at all. In correlation, project Memories took place in depth with my cousin and I as we began to part ways in our lives already, granted, we still had decent connections with each other. The release slowly succeeded to being one of the most sold copies of all releases ever made. Though, was quickly surpassed after the discovery of the revised Afterglow, even though it has way less views.

About a month after, I created a solo project, You. The project was made because of you. You were the reason why I ended up becoming the person I am now. You are the reason why everything around you is like this as of right now. You are the one that controls the things that surround and interact with you. Only you can make a change. Only you can make things right. As cliche as the previous sentences sound, that was the mere reason to its development, as I was attending some propaganda courses through my high school career. The project never made any sort of significance in my perspective nor in sales.

The Hiatus

A little after the release of You, my computer decided to take a shit on me and the hiatus took course. Although, most people recall the hiatus to the name change to “Edges” back in December 2015 after a chick decided to hypocritically block me on Twitter, tweeted about it, and oddly enough caused a stir. During the hiatus, I made three releases under Edges, but even that, there was merely no significance.

The hiatus continued on until I reverted my stage name back to Deadbäss on June 27th, 2016. Even after the name change was reverted, no releases were made for almost another nine months.

During the hiatus and tons of people never knew, numerous projects that are planned for released were undergoing work. They actually went for several months and to this day, they still are. Those projects included: Loss, Greed, Society, Trapped, Sorry, Stealth, Nightmare, and Over.

Loss EP was a concept with the mentioned releases along with two others.

Spring 2017

Loads of work were implemented and finally my stubborn ass finally decided to release Alive on March. It was merely ripped off from one of the releases I made back when I was known as “Edges” at the time being. Although, Edges is no longer a stable musical name, it was essentially absorbed with Deadbäss.

Unofficial instrumental releases began to take place due to the project just being a sitting stone. The instrumental version of Greed was finally released after being finished for over four months. Greed was a spin-off release from an old project, Gone. Created by the same producer, myself and my buddy, Hijerarche, we realized that Gone was the worst mistake we’ve made in the musical industry so we experimented with something we both were not familiar with. As a result, Greed quickly became the highest rated creation ever to date. The video view count was over a thousand but YouTube decided to rig up the video view count and dropped it clear back to 20 for unknown reasons. Most have presumed it was because YouTube assumed it was “F5’d” numerously just to bump up video views. This initially caused the video being from the most popular video ever to one of the least viewed, but highest ratings…

Project Greed was heavily inspired by a recent producer, Marshmello.

At the same time, I was creating a project to never Forget, as many of the community speculated that I was forgetting my past in production style. I was halfway into thinking I’m going into a new phase as my orchestral-like releases were weirdly doing one hell of a job in video count and interests.

Later in the day, the instrumental version of Nightfall was finally released after six months of production, five of that being in total isolation as I was in hopes of finding a freestyle rapper around the Salt Lake Valley area. Clearly, as we know it, has not happened. Not enough information is gathered, as the release was made about a week ago to this blog post.

The Mark of an End

Deadbäss'-End

On April 30th, 2017, I officially announced that I will step down from being an active music producer. All projects on work were cancelled, except for instrumental pieces in need of lyrics. Those projects included: Greed, Nightfall, and Loss.

Loss is planned to be the very last release in existence of Deadbäss. The reason to ending production is rather personal and shall not be mentioned. But I do hint that the law was apparently a threat. It was a good run producing since 2009, but all great things in life, especially if it makes up your whole entire fucking life, have to meet an end. And today is that day.

Rights to products of Deadbäss will still apply and are subjected to prosecution if violated.

To all future music producers, don’t follow my path. I spent way too long as a producer and believe it is time to move on after making several constant mistakes and rejects through hundreds of record labels. Keep EDM alive and EDM shall live on.

Thank you guys for everything. It was a wild ride.

~ Deadbäss – 30th of April, 2017.

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