Your Music NOT To Do List Is Just As Important As Your To Do List



In this video I discuss how know what you DON’T want to do is just as important as what you do want to do.

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we delve into the often overlooked but crucial aspect of self-discovery – recognizing what you don’t want to do. Delving into the realms of personal and professional development, this discussion emphasizes that understanding one’s dislikes, limitations, and boundaries can be just as pivotal as defining aspirations. Whether you’re on a career path or a personal journey of growth, this insight-rich exploration underscores the significance of clarity in determining what to steer clear of, shedding light on the uncharted path to discovering your true passions and purpose.

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8 thoughts on “Your Music NOT To Do List Is Just As Important As Your To Do List”

  1. Is it a good thing that we disagree with many of the rules you provided?

    For example many of my favorite albums are ones that have disparate and varying moods yet all transition cohesively and at the right times, and I want to take this to the extreme in my music whilst emphasizing the common thread as I play with different genres and sounds

  2. 3:10 Most of your advice usually works for me but this one is just bad. May be a cool experiment for a single album if you've done a few but a full album of a single mood sounds like suicide. What a boring concept. Even The Downward Spiral, considered to be a brilliant downer by most, has wild variations in mood and tone. May as well stick to one key, time signature and tempo. By this rule, Master of Puppets, Aenema, The Bends and the White Album suck. Lol

  3. I think what’s great about these videos you are producing is they’re actually laying out legitimate steps for an artist to take instead of the typical ‘here’s what I think could be an interesting way to possibly make some progress’ approach.
    I don’t think I’ve ever come across this type of content before but it’s all answering a lot of questions I’ve had for probably 10 years now.

  4. This turned into more of a rant about modern pop music for me but oh well here we go…

    What not to do for me :::

    – Lyrics/vocal styles that are trite, try hard, un-self aware, unoriginal, cringey, self-involved, don't match emotion of song, overly serious, weak performances, worn-out topics eg. relationships, being strong, being into someone sexually, break ups, the club the dancefloor etc,

    – Autotune for the sake of fixing weak performances or 'just because' use of autotune.

    – Any creative musical decision made for reasons of current trends or business

    – Singers that sound like 'the time' eg. hip singing for the 2010s. Particularly if the song is meant to be sincere and an autobiographical statement

    I want to hear your voice, not all the crap enunciation you put on to hide your real voice.
    – Song structures that don't suit the song eg. 'dance' tracks that only 25% of the song has a beat on
    – Sampling old soul, blues, rnb, motown etc acapellas. It's been done to death and it only serves to show how white you are throwing them over your boring beats
    – EDM style buildup and drop structures. Nobody is getting hype for that rollercoaster bullshit, you have to earn excitement with your musical content
    – Cliche'd nostalgia. No more 90s M1 pianos, Robin S 'Show me love' basslines or weak-ass re-toolings of house classics thanks
    – Music that bludgeons you with a barrage of 1000 sound effects as if you've got ADHD and you'd get bored otherwise. Let the music breath kids

    – Tedious balladry that labours the point of being a ballad rather than gets you emotionally invested.
    See any middle-of-the-road alterna-rock band from the 90s for examples of this
    – Hoopydoo vocal melodies/patterns (pentatonic vocal lines, 5-3-5-3 millenial whoop, vocals that sit on one note and just do a rhythm pattern, always landing on the tonic, Whoa whoa and other non verbal cliches, TONIIIIGT at the end of a line, vocal sings 1,7,6,5 of tonic over 6 chord etc. If it comes from some corporate 'how-to-write-a-hit' playbook DON'T DO IT!
    – Predictable chord patterns that don't change throughout the song regardless of verse/chorus etc, emotionally played-out chord moves,
    chords always being strictly 1 bar worth of each chord
    – Mismatched sentiment with music eg. if you're singing about being a punk rebel over some basic-bitch pop backing track or if you're Lana Del Ray

    and you sing your moronic lyrics with grand beautiful reverb over a grand beautiful instrumental backing. It'd be like translating Pavarotti and

    finding out he was singing about picking his nose the entire time. Ruins it.

    – Irritating pitch bendy lead synths doing some irritating post-Dj Snake bullshit. You have ReFX Nexus we get it.
    EDM amirite? Ditto your played out dubstep wubs, trap 808s and closed hats anything where a genre is completely strict about the instrumentation
    – Production that is all about loudness with no room to breathe

    – Blatant copying of other artists without saying something new eg. Aloe Black 'telling everybody' how much he wishes he was Elton John

    – Literally every single thing about that fucking 'Had a bad day' song from the 2000s

    – Overly clinical and polished production, particularly if the songs themes are about how earnest and true you are eg. most modern country
    . "Got ma-pick up truck and ma-multiband compressor"

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