With the absolution of his best contempo distinct Anybody (Quite Like You), South Australian singer-songwriter Ryan Martin John rebranded himself as RMJ.
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The aftereffect was a far added immersive complete that we bound became absorbed to. So we anticipation it best to apprehend beeline from the artisan himself how this rebranding came about. Booty it abroad RMJ…
This year afterwards arena 18 months of about alone abandoned acoustic shows about my hometown of Adelaide, I took a breach to reflect on what I was absolutely transmitting to my audiences.
It’s absolutely easier logistically to altercation an acoustic than a abounding bandage and comedy a 45minute set. The botheration is you can’t absolutely beginning every song with a another of “OK this abutting one, Imagine there’s a stereo-panned accent guitar, an 808 and a re-amped Wurlitzer abaft me, go!”
And so it was that folk became my attributed genre. I, Ryan Martin John, didn’t mind. But my autograph became limited. And my acknowledgment for advertent music additionally followed suite.
Was I aloof accepting jaded? Where’s my abutting Wilco? Where’s my abutting Radiohead? I hadn’t collapsed in adulation musically for a such a continued time. Was I absolutely acceptable that self-entitled guy? A few affronted keystrokes abroad from barking at the comments area of the another station’s anniversary top 10? Because I had plateaued as an artist/consumer?
Let’s be honest, no-one knows I exist. Every time I best up the guitar, I enjoyed it. But I begin me comparing myself to my friends, who are a hundred times bigger than me. Or comparing myself to the corrupt echoes of guitar greats gone-by, flaking abroad in the trails of avant-garde pop.
“It’s been done,” I said. Sometimes, I get to this point. Area my lane stops affective and I alpha to watch the lanes either ancillary of me move along. It’s not good. It saps my creativity.
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I’ve been a flat accessory enthusiast (read ‘nerd’) for some time now. I adulation recording at home, and as a aftereffect I’m one of the abounding who ache from GAS (Gear Acquisition Syndrome).
I’d had my eye on these two bargain toy-like instruments on gumtree for a while. And one day on a carefree, defeated whim I asked the agent “are these still available?” They were.
Things were about to change. Enter the Korg Volca Beats Boom Machine. Enter the Roland JP-08 Synth. Afterwards the aboriginal absurd 40 abnormal of aberrant bleeps and dings, I realised how abundant of a articulation these two types of instruments had been beyond aggregate I’d anytime known.
I started to beat again. Concern flared. What’s an oscillator? What’s stutter? Can I accomplish them comedy together?
Why did it booty this long? Perhaps it’s because for the longest time I’d mentally mapped the chat ‘synth’ as a allegory to the somewhat absurd addition of Van Halen’s Jump.
Enter a new begin analysis of all these amazing artists that had collapsed by my apprenticed wayside. What abroad has synths in it? Or boom machines? OK, actuality comes LCD Soundsystem. Gary Numan. The Kills. Tears For Fears. St Vincent. TV On The Radio.
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I get to accept to Arcade Fire all over again. I get to watch Talking Heads’ Stop Making Sense at atomic 40 times again. How did they ally up the synth elements with the alive bandage in the mix?
I am athirst again. My academician is exploding. I’m like a babe at a disco aggravating to pin bottomward 100 lights on the bank with alone my two aged paws. I should rebrand. Aggregate is new.
Now I’m angrily attractive for the Roland CR-78 on every Gorillaz song. Now I’m sitting at the piano with my Volca Beats and a repetitive bend of a ride cymbal with no bang or allurement has aloof aggressive 3 songs in 15 minutes.
What are those awe-inspiring textures that assume to bookend EVERY song on Hail To the Thief? That’s gotta be a synth. What is that low end affair accident on Alabama Shake’s song Future People?
That’s gotta be a synth. Tame Impala’s Currents? That bits ain’t a guitar, Kevin. And it’s beautiful. Was that a Juno or a Jupiter on Thriller? Pretty abiding that was a microKorg on Nick Cave’s Skeleton Tree. Beck’s Avant-garde Guilt?
Now I’ve gotta analysis out every added affair Dangermouse produced, account there’s synth textures and boom machines abaft EVERYTHING. Hello Shins. Hello Broken Bells. My cosmos continues to expand.
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I’m in the kitchen and I’ve ample out how to use the sequencer on my JP-08, because I’m aggravating to charm the addition to The Who’s Baba O’Reily. Four added ideas in 35 minutes – and I appetite them recorded yesterday, so my bandage can apprehend what’s in my arch already.
I’m no best Ryan Martin John. I rebrand. I can do added as RMJ.
Drum machines, boom machines. What about rap? It’s all samples and loops right? Enter J Dilla. Biggie. Tribe. Anderson Paak. Kendrick. Kendrick? Kendrick! Sorry authority on. I’ve heard about this To Pimp a Butterfly record. Let me put it on.
OK. Now I’m jealous. Every band actuality is a goddamn three-way mirror. Actuality I am, demography three verses to acreage my bifold entendres finer afterwards a affected tension, and these guys are advance me every additional with their multidimensional art.
And I’m apprehensive how the snares were recorded on Tribe’s samples. I’m apprehensive what board Dre used. I’m apprehensive what MPC Sampler Dilla used.
I appetite the bottom of it all. How can I apparatus this into my own stuff? I’ve got some austere assignment to do. I’ve been so ignorant. I’m blooming again.
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All of this information. All of this curiosity. All this discovery. All of this advance is because one time, I was on gumtree, saw a abominable attractive boom machine, and messaged a drifter adage “will you advertise it for $100 if I awning postage?”
Anybody (Quite Like You) is accessible now.
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