After a whirlwind five months of activity, as the year comes to a close, we bring to you the FOWRies! We feel that we’ve generated enough content to know a thing or two about a musical thing or two from the year 2010, and now we’re going to throw our weight around in the form of glorious trophies (not yet created)! Hopefully we’ll be generating stuff to read DAILY from now until the end of the year (except christmas eve and day).
Here are your awards and nominees, in the order that we came up with them in! Continue reading
Music’s never been an emotional escape for me. In most cases, creating music has taken over that role instead, while listening to it is more recreational. What I seek in music, usually, ends up being simple, catchy pop songs. That’s how I’ve always been, really. People will tell me about the inner rolercoasters that “Album A” put them on and I more often than not find myself unable to reciprocate those feelings. So what am I supposed to say when an album finally does that to me — makes me have a real emotional response? 
When you’re working with samples, loops and hooks you run a fine line. On one hand, a repeating hook serves a lot of purpose. It’s something simple, but catchy enough to keep you entertained. But working with a looping hook is a double-edged sword – if you let it run on for too long, eventually you begin to cross the threshold from being catchy into being monotonous. “Man On the Moon II: The Legend of Mr. Rager” is a prime example of what happens when you let your hooks take up too much of the heavy lifting: You inevitably end up with a droning, soulless, boring product. 
Fermata over Whole Rest 