New Release: Disappearing

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New Release: Disappearing

I’m usually the person reminding my creative friends that “Not everything needs to be a masterpiece,” but sometimes I forget that myself. Sometimes a song just wants to stay modest and doesn’t need to be your own Bohemian Rhapsody. That’s the story of this latest single called Disappearing.

I had Disappearing finished for a while, but since it was so short (1:20 min) I never considered it done. However, every time I listened to it, I didn’t feel like it needed anything else. My final adjustment to the song was to add a meaningful field recording at the end during the mastering phase. This brought the song to an epic 1 minute and 35 seconds! But maybe a song called “Disappearing” doesn’t need to drag on and on…

The song was written fairly quickly earlier this year while I was in a reclusive aka “hermit” period. I spend hours sometimes going through the thousands of different keyboard sounds in my music production software, adding the sounds I like to various “favorites” lists. During this time-consuming process, I get to freely improvise on the keyboard and make up random micro-songs based on how the various sounds make me feel. That’s when I found the main “pad” sound that makes up the majority of Disappearing. It’s a setting on a software version of the Yamaha DX7 synth, from the late 1980s.

While I played the chord pattern, the lyrics came out pretty naturally without much belaboring. I like that the flow is a little bit reminiscent of the sing-rap style of Drake or Khalid–it’s a bit different for me. BTW, I cut a sped up 1-minute version that I used for an Instagram post.

The song’s subject matter is halfway between self-deprecating and actually concerned. LOL. I sometimes get into periods where I have conflicting feelings of being too isolated, but also feel antisocial at the same time. So I was hibernating and reflecting on topics including legacy, mortality, and what people choose to do with their limited existence. It culminated into the concept of “disappearing” if you’re not present in anyone else’s life.

The final addition to Disappearing was a meaningful sample that I got from my friend Mike Harrison, who passed away last year. He made a bunch of field recordings during a trip to Japan in 2016, most of which were of busy streets, arcades, and mass transit. But there was one of crows in a field. If there are any old-school Ming & Ping fans reading, you might know that I’ve often used a crow as a stand-in for myself in Ming & Ping’s music and even some photos, like this one by Julie Klima. It’s also in the lyrics of Ming & Ping’s most popular song, Beautiful Things:

“All the people scream for their dead dreams
And tell you not to try ‘cause you won’t fly
And you just watch the show like a black crow
You just watch the show like a black crow.”

– Ming & Ping, “Beautiful Things”

 

 

The crow is basically a symbol of actual BAO creeping in the background while my eccentric art takes the spotlight. The crows also reminded me of my late friend Mike, whose legacy will always be a strong and beautiful one with the people who knew him. I just wanted to pay tribute to something we had in common: being innately antisocial while making weird eccentric art.

Thanks for reading. If you’d like to support my work, here are a few other ways:

Thank you!
❤ BAO

*UPDATED* Musashi (Original Game Soundtrack)

UPDATE: A mobile game that I created the musical score for is now available in the US. People have been playing “Musashi World Warriors” in Asia for a while. If you feel like winning actual cryptocurrency while playing “Rock–paper–scissors” using ancient warriors, you should get this game on your smartphone and put on some headphones to enjoy the music and sound effects by yours truly.

Download on Apple’s App Store
Download on Google Play


Late last year, some friends invited me to compose the music for a game called Musashi, which is scheduled to be released in early 2018. It was the first time I had ever created original music for a game, so the experience really made me want to do more projects like this. This soundtrack album consists of full length versions of the musical clips used in the game. Enjoy streaming the music on this page or on any major digital streaming platforms and learn more about the game and my creative process below.

About Musashi the Game

Musashi is a simple role playing game for mobile devices. Your character travels through ancient lands to battle opponents and win virtual gold. Players trade in that gold for armor and other powers for their characters. The thing that makes Musashi stand apart from other RPGs is that the fighting is ultra-simplified and is based on rock–paper–scissors. You can just play it casually while waiting for your coffee to get made. I really enjoy the game’s retro artwork, reminiscent of the Street Fighter II character art from the 1990s. And hopefully, players will also like the game’s music.

General Approach to the Music

Overall, the Musashi soundtrack is mainly electronic music with many sampled and digitally distorted acoustic instruments. I used classic synthesizer sounds and effects as the basis of the music, while adding traditional world instruments to create certain vibes that match the scenes in the game. But even the real instruments were heavily altered using digital effects because I wanted everything to have a decayed, unnatural feeling. For example, most of the orchestra strings were played on a software version of a Mellotron so that there’s something unnatural about them, but you can’t quite place what it is. While the game required short, monophonic loops (one speaker only), the full versions on this album were mixed in stereo with a few additional effects that help create the illusion of large antique spaces.

Vietnamese-inspired Musashi Theme

Musashi’s music all started with the main melody that you hear in the Musashi Theme, played by a sampled and digitally distorted Erhu, an old Chinese two-stringed instrument similar to a fiddle. I came up with this melody while in the shower after having played around with the game for a couple days. I wanted a melody that felt like a conflict between seeking adventure and longing for home. Once I had this melody recorded onto my iPhone’s voice notes, the backing music came out pretty naturally. The last part I did on this song was to add an electric guitar with lots of delay and reverb. There was a Vietnamese guitarist that was hugely popular in the 80s and 90s named Vô Thường, whose style inspired my guitar part. You’ve probably heard his music playing in the background at the Pho restaurant. LOL. Here’s four hours of his insane music.

Musical Themes for Each Ancient Civilization

We decided early in the process that we should have a few musical themes that correspond to the various ancient lands that your Musashi character travels through in the game. My approach was to use the main melody from Musashi Theme and use variations of that throughout all the other themes, even though the rest of the music could be significantly different.

The Arabic and Siberian themes are probably my favorites. For the Arabic theme, I found a loop of some tablas that had a cool rhythmic pattern and tuned them to my liking. I then added some synthesized and sampled vocals and detuned them, causing a melted feeling. The rhythm of the vocals on some parts sounds a little like chanting, but it’s actually accomplished by taking a long and steady “ahhhh” sound and using something called sidechain compression to make the voices pulsate to the rhythm of the tablas. For the Siberian theme, I listened to a bunch of traditional music from Siberia and Mongolia, which helped me pick some instruments that had a similar vibe: a primitive flute, a clanky guitar, and some deep voices that sound almost like throat singing. Put all that on top of a pulsing electronic beat and you have Musashi’s Siberian Theme.

How to Support BAO’s Music

How did you like the music? Let me know in the comments. When Musashi becomes available to the public, you’ll be able to download the game on the Apple and Google stores. You can also support me in a few different ways:

Text me maybe: (629) 888-1938
❤️ BAO

New Release: This Whole Love Thing

Whoo! Here’s another silly love song! Like a lot of my other work, This Whole Love Thing has a bunch of musical and cultural references snuck into it. That kind of stuff is fun for me. Sometimes it’s more obvious than others, but on this one, it’s very obvious. Keep reading to learn about some of the fun references that are included in my latest release.

This song had been around as a demo for over 4 years before I finished and released it. The hook “This Whole Love Thing” was inspired by a conversation with one of my friends who said the phrase while describing how he didn’t expect to have such strong feelings for a woman he was dating. Of course, I wrote it down in my phone as a song idea and eventually developed it.

The opening drum machine pattern is a reference to a 1990 Roxette single called It Must Have Been Love, which was in the movie Pretty Woman, starring Julia Roberts and Richard Gere. I started out wanting to write a power ballad, and that Roxette track is one of my favorites. My song didn’t turn out to have that much “power” but it’s still got some ballady vibes. The drum machine samples I used are from the Akai MPC60, which came out in 1988.

The other instruments that make up the song are pretty classic: a Rhodes electric piano, bass guitar layered with a Moog bass synthesizer, a few electric guitars, and for the country music vibe I put in Hammond Organ.

In the lyrics, I also snuck in a reference from Pee Wee’s Big Adventure, the film from 1985 starring one of my biggest influences in entertainment, Pee Wee Herman. The reference is in the first verse. Can you find it? (Leave me a comment on this blog entry)

The vocal treatment for the verses was inspired by John Lennon’s song Watching the Wheels. After I had finished recording the vocals, I was at a lost as to how to affect the dry vocal recordings, so I asked a couple of friends. Patrick Kornegay, a movie producer and music nerd, responded by suggesting I try something like Watching the Wheels. I was dubious at first, but after I figured out which effects to put on the voice, it was exactly what the song needed.

I love the cover photo for This Whole Love Thing, taken by my friend and BAO bassist Timm Shingler, because it makes me look like Steve Carell from the movie The 40-Year-Old Virgin. LOL! I look like I’m staring off into space daydreaming about my crush or something. It’s just so innocent and dorky and funny. The photo was taken on 120 film, using a Voigtländer Perkeo I camera from the 1950s. I also took a similar image of Timm too, check it out.

Real question, tho: Are you interested in Youtube videos where I dissect each song and talk about the technical construction and inspiration for each song? Lemme know, yo! If you’d like to support my work, here are a few other ways:

Thank you!
❤ BAO

New Release: Diggin’ Your Love

February 19 is my birthday! I am celebrating life, art, compassion, and learning. As a gift to you, you can download “Diggin’ Your Love” for free right here on this page. As a birthday gift to me, could you donate to a cause that’s super close to my heart – The Slants Foundation?
Donate

The Slants Foundation is a nonprofit that helps Asian-Americans who strive to incorporate activism into their art. I’ve served as a Board Member since its founding last summer and we’re just about ready to launch to the public. Go to theslants.org and hit the donate button – no contribution is too small. If you’re not able to donate right now, that’s okay. Enjoy the song, and you can still donate in my name until the end of February. Check out the new tunes and keep reading if you’re interested in a 2,000-word essay on what’s meaningful to me on this birthday.

First, a little about the new song. Diggin’ Your Love is an upbeat, irreverent reflection on modern dating and “catching feels.” The song draws stylistic influence from 80’s Minneapolis funk, pop, and rock and channels artists like Michael Jackson, Prince, and The Time. Oh, and some modern influences like Pharrell Williams and Bruno Mars too. Killer guitar solo and rockin’ guitar parts by the super cool and talented Jesse McInturff. Thanks a lot to Taylor Shechet and Davy Drones for arrangement and mixing help.

So, I’ve been reflecting a bit lately on the extraordinary life I’ve enjoyed and the invaluable people who’ve made it happen. The last couple of years for me have been about understanding what I have to contribute to the world and then giving it – through my art, my presence, and through passing on my knowledge. There’s a quote that’s been floating around the internet, being attributed to Pablo Picasso, William Shakespeare, and a million other people. I don’t know whose quote it is, but I’m feelin’ it:

“The meaning of life is to find your gift. The purpose of life is to give it away.”

In 2017, I had an idea for a nonprofit called Other.Us that would exist to help Asian-American songwriters with the resources, knowledge, and network needed to get their unique stories out to more people. I had a lot going on at the time and really struggled to get it off the ground.

A few months later, I got an email from the highly accomplished artist and activist Simon Tam describing a nonprofit that he wanted to start. Its purpose would be to provide resources, scholarships, and mentorship to Asian Americans looking to incorporate activism into their art. He wanted to know if I’d be interested in serving on the foundation’s board. Um, yeah!

Anyway, I’ve been releasing music since 2004, starting with Ming & Ping. Whether you knew it or not, those songs were written from an Asian-American perspective with strong references to the Asian-American immigrant experience. There’s no way to not hear that in my new music and the awesome stuff I have in the pipeline. If you like my work and want to help empower the next generation of Mings and Pings and BAOs, please head over to The Slants Foundation’s website and pitch in a few bucks.

There’s nothing more exhilarating to me than knowing that the stupid song ideas I hum into my phone could one day become meaningful songs in someone else’s life. Seriously, not many get this opportunity and I’m not going to waste it. Let’s do this!

If you’d like to support my work, here are a few other ways:

Thank you!
❤ BAO

New Release: Far Away

Happy Lunar New Year. Let’s celebrate with my first song of 2019 called Far Away. It’s a tribute to the immigrant and refugee parents out there.

Far Away is a song for immigrants and refugees, especially those who are what I would consider 1.5 generation: immigrants who came to another country as young children and don’t have much or any memory of their birth countries. Those who struggle to belong in both the home they left and the home they’ve been brought to.

While the lyrics speak to the many images of my parents’ history in Vietnam, Far Away is about knowing your “homeland” only through the stories and photographs that your parents share. For some of us, that’s not a lot and they’re always tinted with personal trauma and biases.

The music and vocal melody for Far Away had been around for three years, but the song was so special that I couldn’t find a topic or lyrics that did the song justice. Then in late 2018, I had a conversation with my friend Hieu Gray, who is working on a beautiful documentary about Vietnamese food spreading to other parts of the world through displaced people.

We spoke deeply about how, as immigrant babies, our knowledge of Vietnam is mostly constructed from stories and photos. We thirst to learn more about our culture, but will always feel like tourists in our birthplaces. When I wrote the lyrics based off of our conversation, it was a super emotional experience filled with gratitude and respect for everyone who made the journey to find a better life. It’s especially relevant in today’s political climate in the United States.

I hope you enjoy the song. Leave me a comment.

If you’d like to support my work, here are a few other ways:

Thank you!
❤ BAO

New Release: No Filter

Hey it’s Bao. I’m super happy to share with you my latest single No Filter. I’m currently in the Sacred Valley of Peru expanding my brain and recharging my life energy, so I’ll have to write more about it later. I hope you like my new song and would appreciate if you share it.

Written, performed, produced by BAO. Additional production and engineering by Davy Drones. Photography by Black Fade Media. Special thanks to Taylor Shechet for help with the mix.

If you’d like to support my work, here are a few other ways:

Thank you!
❤ BAO

New Release: She Looks Like You

Happy Lunar New Year and Happy Valentine’s Day to everyone. Today is Presidents’ Day and it’s also my birthday, so here’s a treat from me to you: a new single for the month called She Looks Like You. It’s basically about TFW your lover has a doppelgänger the doppelgänger turns out to be a vampire. Read along to learn more about the song, its origins, and why I had to have a flugelhorn in the song.

She Looks Like You is a pretty old song. It was probably started in mid-2014 as a GarageBand idea on my iPhone. The main synth that starts off the song was the first part I wrote, then I added the low key house(ish) beat and a few other basic instruments. Then I laid down some scratch vocals with no actual lyrics, except for the main line in the chorus.

I had had the concept for the lyrics stored in my phone for a long time, “She looks like you, but she’s not you because you’d never do this sort of thing.” The rest of the lyrics came about pretty quickly. They deal with vulnerability and betrayal – telling a story of a lover’s doppelgänger who gradually sucks the life out of you. I guess it’s a roundabout way of describing the slow and painful denial that people have when they realize someone they love doesn’t give the same love back.

For about a year, the song had a fake horn section in between verses, and I knew that I wanted to replace that with real flugelhorn eventually. Flugelhorn is kind of like a trumpet, but it’s bigger with a lower, more mellow, and more dorky sound. I had been listening to old songs by Burt Bacharach and I just loved that relaxed vibe that the flugelhorn gives off – and nobody uses it anymore! So I found a musician in Belgium called Groundfish and sent him some files showing him the basic horns I wanted in the song. I was keen to point out that the horns kind of bend downward at the end of the long notes, in a sad way, and Groundfish nailed it. He also played horns on Let’s Make Jam from the BAO EP.

The song remained in an unfinished state for about three years until the end of 2017 and beginning of 2018 when I touched up the mix, added some drum fills and accent sounds, and re-recorded some of the vocals. It was time to let this one go out into the world.

If you like my song She Looks Like You, here are some other artists that I love who have a similar vibe: Poolside, Rhye, and Classixx. You can also support me in a few other ways:

Thank you!
❤ BAO

New Release: Heavensent

With Heavensent, I wanted to ask more questions than answer. The biggest question I wanted to leave open was who the “I” and the “you” are in the lyrics. Heavensent contains ideas about acceptance, forgiveness, patience, and being okay as a work in progress. I guess the point is that nobody is too old, too experienced, too successful, or too confident to continue to become better. I hope you like my new song Heavensent.

I started writing Heavensent in a pretty traditional way – with a traditional structure: verses, chorus, bridge, etc. But the song wanted to be short and simple and unadorned. There are only five instruments in the entire production of the song. The song structure is a little bit untraditional in that there’s only one verse and one chorus (There’s even less on the stripped version). Near the end, you’ll hear some semi-chaotic guitar parts that mimic wind chimes – just random strikes of various notes. I borrowed this technique from a band I really loved in the early 2000s called Dilute, led by a brilliant artist named Marty Anderson. You can listen to one of their incredible albums here on Youtube.

The Ming & Ping remix of Heavensent is one of my favorite Ming & Ping remixes. Definitely up there with their remix of Thought Balloon by Freezepop. It’s weird that it seems faster than the original, but it’s in fact the same tempo. You can hear more Ming & Ping music on this “Everything BAO” playlist on Spotify (Pro Tip: follow the playlist to get updated as we add more songs to it).

If you enjoy the music, you can support me in a few different ways:

Thank you!
❤️ BAO

New Release: Do the Move!

Hey! Turn off the news and check out my new song Do The Move! You can watch the lyric video on YouTube and buy the song here, if you want to support. Otherwise, listen to all three songs from the single on this page, including a sweet synthwave remix by a new artist called Outer Night. It’ll be a few days before they start appearing on iTunes, Spotify, TIDAL, etc.

I had a lot of fun writing Do The Move and recording it with my live band. Ripping guitar solo by Jesse McInturff of the band VVIVES. Bass solo by Timm Shingler of the band Open Grave Surfers. Second mini guitar solo by BAO. Hype AF drum solo by Rogie Lucero from the band Purple Fuzz Machine. And a really cool synthwave remix by a new artist called Outer Night.

I’ll update shortly with some behind the scenes stuff. Oh hey – share this with your peeps!

💀 BAO

The BAO EP and Where It Takes My Music

Hey it’s Bao! Thought I’d use my very first blog post to tell you a little bit about some of the thinking behind my debut solo EP–and where we go from here. The music of my previous band Ming & Ping was and is very focused, stylistically and topically. We deliberately created these self-imposed limitations to keep the brand simple and recognizable. While there’s still a lot of Ming & Ping spice in my new work, there’s also a lot of the other influences that I’ve absorbed in my lifetime and the topics that are important to me that didn’t really fit into M&P songs. It really feels good to share my new work with everyone, in my own voice. Here’s a little bit about my 5-song debut called the BAO EP and the other music I have in the pipeline.

What Inspires The Sound?

You’ll probably hear some Ming & Ping elements in the new music, like the upbeat tempo, the rapid sequencing and arpeggiating of short musical notes, and the call-and-response style vocals on some parts. The call-and-response thing is a little different now. In the Ming & Ping songs they acted as a way to have Ming sing a part, balanced by a part sung by Ping. In the new music, it’s more influenced by James Brown’s funky soul music, which he clearly got from church. 🙏 You also hear a lot that I took from my biggest musical influence, The Purple One himself: Prince and specifically early 1980’s Prince and the Minneapolis sound he helped create. The “BAO EP” relies heavily on vintage drum machines like the Linn Drum, big juicy analog synthesizers like the Oberheim and Jupiter 8, and both funky Nile Rodgers-inspired guitar and distorted rock guitar. I also took huge musical cues from Terry Lewis and Jimmy Jam regarding big drums, funky bass, and pretty melodies. Yes, that’s a lot of black music. Thank god for the music that African-Americans have contributed to our culture!

You’ll probably also hear some of the rock, grunge, R&B, and pop influences that I’ve absorbed. Nirvana, Nine Inch Nails, and Smashing Pumpkins were my favorite bands in the 1990’s before I discovered electronic music like Autechre, Squarepusher and Aphex Twin. I’ve also always casually liked R&B and Hip Hop. Neo-Soul in the late 1990s was an influential moment for me–basically all the work that Questlove was involved in. I hated pop music as a kid, but I love it now that I’ve had a career in design and marketing. A pop song is like a perfect little treat: it’s quick, it hooks you, and if it’s good it’ll stick you with clear and simple message. These types of pop songs are what I aim to make.

What Are The Songs on The BAO EP About?

The songs on my EP reflect a few things I care deeply about, including personal identity, mental health and life as a minority in America. I wanted the opening track to represent my experience as an immigrant because I felt that a lot of people could relate to a story that’s not often given an outlet. Fish Sauce essentially has the same story of negotiating and accepting being an outsider, which you can find in many of the Ming & Ping songs. A lot of it is a lighthearted look back on my own experiences, but also those of the Asian-American people as a whole. The song is not too serious because sharing my story is a way to grow and not a way to complain. The rap in Fish Sauce, for those of you who don’t speak Vietnamese, is satirizing the embarrassed reactions of the Vietnamese community when the (hypothetically) see me reclaiming the notoriously funky fish sauce as a symbol of pride.

“Many people feel shame or trauma about their family’s immigrant experience. But it helps everybody when those stories are told, especially in these times.”

Both Dani and Learn From It deal with identity and mental health. Dani is more about the support system you need around you, while the more somber Learn From It incorporates references to internalized racism and the Asian-American community’s reluctance to address mental health issues. If any of my songs helps even one person, I’ll consider myself a successful musician.

4th on the Floor and Let’s Make Jam deal with S-E-X because S-E-X is G-O-O-D. LOL WTF OMG. 4th is more about the nostalgia of past relationships, while Jam is just stupid and fun. What else do you want to know? Let me know in the comments.

What’s In Store In The Near Future?

I’ve got some Youtube videos upcoming that go a little deeper into some of these songs. Please subscribe to my channel so don’t miss when they come out. I have a lot of unreleased music that all center around some similar themes and styles. My goal is to release one new single each month along with some videos. I also look forward to collaborating with more talented people to create new songs, videos, and images. You wanna work together? Send me a message, or text me at 629-888-1938.

In the comments below, tell me what you think of this post and what else you wanna see. Thanks!

❤️B