Snide
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Last Active 05-09-17 6:56 am
Joined 05-10-16

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 Lists
04.25.17 Snide Goes Post Rock (Black Malachite)04.23.17 Sputnik Band-Off: Round One - Metalcore
04.15.17 Work drama blows (Work Rage Vent Thread04.14.17 I Love Sputnik (Where We've Been/Where
04.12.17 Snide Nu-Metal Demo 204.09.17 A Snide Birthday!
04.04.17 Snide Nu-Metal Demo04.03.17 Black Malachite Redux Stream
04.02.17 A friend died (went to a memorial yeste03.29.17 How Was Your Day, Sputnik?
03.26.17 I'm Hungover Send Emergency Recs03.25.17 I'm Being Stalked By A MILF (Tinder Suc ♦
03.24.17 100th List! (Dragon Ball Z Villains)03.23.17 Live Action Death Note Netflix Teaser
03.22.17 Snide Rap Side Project03.21.17 Sputnik Dream Journal
03.20.17 New Black Malachite Track (Redux)03.19.17 The Sputnik Story Part One:
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New Black Malachite Album (The Writing)

This is not an announcement of the release date. I want to try a different approach to get people excited for my second album, and wanted to explain my thought process behind it and behind all of its writing. This is the most personal piece of music I've ever written / have been writing, and I want you all to know about it and be involved in its creation. The album is called "Void", and it's an Ambient / Post-Rock blend effort (a complete departure from my previous works which were mostly Dubstep / Trap, etc). My main influences for the album were Sigur Ros, Opeth, and Olafur Arnalds, but I will be listing individual track influences as well.
1Black Malachite
Void

Track 1: The Taker. This is the first track I started working on for Void, and the sound that made me toss away the original 14 track ideas I had for a new electronic album (which I either completely scrapped or just saved for future EP / Singles material.) Layered acoustics with dashes of piano and sound samples of locations relevant to the theme of the song dominate this track and I was predominately influenced by Red's "Hymn for the Missing" track and the acoustic portion of Allegaeon's "Biomech." for this one. I wrote this song as a reminder to myself that things could be so much worse, and that I need to remember to be the one who gives, and try not to take all the amazing people and events in my life for granted.
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Void

Track 2: Noise Scars. This is meant to be a reprieve track from the album opener, and is meant to give a feeling of finding peace while being submerged in a situation that's completely out of your control. Shimmering keys and filtered guitar picking dominate this track, and my main influence for this was Johann Johannsson's "Fordlandia." This track I wrote to try and symbolize the relief that I look for when my anxiety strikes the hardest, I wanted to create the sound the most closely resembles my feeling of reprieve and the weight lifting off my shoulders when an anxiety attack is over.
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Void

Track 3: Core. This track has been the easiest for me to write, and it's meant to be the direct follow up to Noise Scars. Filtered guitar wobbles, sullen bass beats, and gloomy strings dominate this track. This track was inspired most by "Loftið Verður Skyndilega Kalt" by Olafur Arnalds. It's meant to be the feeling once I stop blaming myself after finding the peace after an anxiety attack, and to center myself. Of course people will be a bit angry, I would raise my voice out of anger and anxiety, and I need to learn to forgive myself for not being able to address the anxiety attack quick enough sometimes.
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Void

Track 4: Love, We Are Death. This is the first mostly piano track on the album, and was inspired by Olafur Arnald's first two albums "Eulogy for Evolution" and "... And They Have Escaped The Weight Of Darkness." This song was meant to encapsulate the one singular moment that I felt everything had broken when my ex-fiance left. How several years of us making mistakes together, laughing together, and all the struggles we had gone through, were all about to be rendered null. How I came to the realization that our love was toxic, and that we were toxic to each other as people.
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Void

Track 5: Hold Me To Your Chest, Let Me Forget. This is another piano track (but with more bass tones) meant to be the direct follow up to "Love, We Are Death" and was also inspired by Olafur Arnald's first two albums. It's meant to encapsulate the moments after my ex-fiance left, the moment where my best friend held me for hours while I sobbed and screamed, the moment where after two days I was finally able to fall asleep.
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Void

Track 6: Envy. This is the only interlude on the album, and is meant to bridge the more introverted side of the album, into the extroverted side. Subtle bass blips and dappling synth hold this track together, and I didn't really have any particular influences for this one. It was meant to be a transitional piece to signify the switch of pace.
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Void

Track 7: Sick To The Spine. The most angry song on the album, and heavily inspired by "Bitches Brew" by Crosses and "You Make Me Sick" by Of Mice and Men. This song is the only song where screams dominate, and is the only song that draws from my metalcore influence. Focusing on grooving riffs and high shrieks combined with deep growling style vocals. This song's a manifestation of how my brain feels when my anxiety gets to a point where it turns into anger, the feeling of everything around me heating up to almost unbearable temperatures, the urge to slam my head and fists into any wall or door that's nearby. I rarely get this angry, but when I do, I have to wrap my hands in towels so that I don't do too much damage to the walls.
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Void

Track 8: Intoxication By Proxy. This song is meant to be the direct follow up to "Sick To The Spine" and is the feeling I get once the anger subsides. When I slide down the wall, and beat myself up with more self guilt tripping in my head until my best friend sits down next to me by the wall, then helps me up, takes me to a local In and Out and treats me to burgers to make me feel better until I'm ready to talk it out. This song was mostly inspired by "My Understandings" by Of Mice and Men and "Bleak" by Opeth, and is mostly filled with slightly distorted guitars, and distant, faded guitar leads that segment with dashes of piano.
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Void

Track 9: Cut Connections. I wrote this song about the rush I got when I finally took charge of my life, and let people stop controlling me. Where I severed the connections I had with multiple toxic people, people who claimed to be my friend but used me, people who I let into my home, people who I let into my life. The song is fast, and entirely string dominated, and was mostly inspired by Sigur Ros's "()"
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Void

Track 10: Craving Sentiment. The longest track I've ever worked on (clocking in currently at just under nine minutes), and meant to be a sequel and throwback to "Serenity" on my first album "Distortion World." It's a very ambient, natural based song with flushes of atmosphere combined with guitar plucks, and subtle backing beats. "Serenity" off my debut album was the main inspiration.
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Void

Track 11: How To Destroy A Memory. The closing track on the album, with distortion heavy guitars, subdued backing drums and piano dashes, it's one of my favorites on the album and was mostly inspired by My Bloody Valentine's "Come In Alone." This is meant to be the closing of the experience, showing my desire to let go of the past, to move forward. To finally come to that sensation of truly living life, and keeping myself from feeling stagnant.
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