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How can we find each other, drifting in this endless universe?
side 1: earthfall (tracks 1-9) SIDE 2: IMPACT (TRACKS 10-18)
- when i get home: This album’s a sequel to Sunburst Nebula! This time we basically just ping pong back, so the vaporwave side is first and the nightcore side is second. With Sunburst Nebula I kinda had to figure out the themes of the album partway through, but with Earthfall Impact I knew what it was gonna be about from the start: long-distance relationships.
The sample here is silly, but I still wanted to convey a sense of melancholy to contrast with “SUPERNOVA”. We start the album with a fade-in. I didn’t want to use reverb in this track because I wanted to introduce it in the next track, so I ended up adding a delay effect with a neat bandpass filter sweep instead.
- i guess i love you: This is kinda the first “proper” track. A big point of difference between this and the previous album is that I sort of learned how to make reverb “sing”. This track gets gradually huger and huger until the last couple minutes, when it turns into a huge wall of sound.
- wild whims: The sample here is About Her, a song by Haunted Disco, which is a friend of mine’s musical project. She says “wild whims” is just the real version of the song now, like Johnny Cash’s “Hurt”. I think she’s wrong and you should stream Commodore.
- long face: A big thing on this album is playing with space. “i guess i love you” was huge and overpowering, and “wild whims” was still big but more low-key. “long face” is a total reset back to being tiny. No reverb here, and the rapid sample slices emphasize this.
- out of my hands: Continuing the theme of playing with space, this track starts out small to follow up on the previous track, then gets huge, then turns small again at the end. I condense song structures on this album a lot to keep the pacing reasonable, and on this track I merged two choruses to avoid the bit where someone says “such a cool chord change”. It is a cool chord change, but that’s a bold thing to put in a song!
- can’t stand the silence: This is one of the simpler edits. The lyrics fit perfectly, and just slowing it down seemed to do a lot. I love the keyboard solo in the second half, but it’s actually truncated! I didn’t just cut it off at the end though. Instead, I found two spots where the same phrase is played and merged them together.
- given to touch: This song was a late add, intended just to return to a bigger space and create a smoother transition from the previous track to the next, but it ended up being one of my favorites. On Sunburst Nebula I used an exciter on a lot of vaporwave tracks to reclaim the high end. On this album I pushed this farther, and on this track farthest of all. Combined with the massive reverb wave in the second half, the whole thing ends up feeling like a blizzard.
- accept the unreal: The vocoder/talkbox thing in this track sounds pretty weird slowed down! It’s pretty cool that something so simple can change the texture of a sound so much. If you’re familiar with the original sample this is probably the most drastically condensed track on the album. I hope it isn’t too jarring!
- night time, i’m fine dreaming of another life: The sample here is the single version of “We Will Always Love You” by The Avalanches. I released this album before they released the album the song is on, which means I WON! I chose it for fitting lyrics, but also just because it’s gorgeous. I like how heavy the drums sound when slowed down, also Blood Orange sounds surprisingly sexy this way.
- DAYS FOG: Now the nightcore side starts. I had to be careful here, because I knew I couldn’t start it in an explosive way. It had to feel like a natural continuation of the vaporwave side. It’s pretty low-key, and (here’s the space thing again) it sounds about as big as the previous track.
- EVERYTHING’S OK: Super short interlude! Like “long face”, this is a reset to a tiny space. On Sunburst Nebula I tried to make the two sides roughly equal in length, but here the vaporwave side ended up so long that I decided to just accept the nightcore side being shorter.
- SHINE, SHINE: One style of post-nightcore I enjoy is stuff that makes the song feel like it’s coming out of a tiny speaker, like Romantic Mind. This track was my attempt at doing something like that.
- IMPOSSIBLE BLISS: From “EVERYTHING’S OK” to “DON’T WANNA MISS ANYTHING”, each track is “bigger” than the last. I remember it being surprisingly difficult to EQ the second half, but it turned out alright. I love the way a nightcore string section sounds.
- DEPTHS ENDLESS: Taking an ambient piece with a lot of reverb and compression and adding more reverb and compression. Nobody can tell me what to do. Eventually I fade out the untouched sample and let it get totally subsumed by the reverb.
- FLY: Another pretty simple edit; there’s reverb of course, and I gradually increase the high end as the song progresses to give it an “opening up” effect. But the song is pretty and it fits well! Sometimes this album just feels like a sparkling playlist.
- DON’T WANNA MISS ANYTHING: The climax of the album, where we finally reach the peak of intensity that “SUPERNOVA” had. The “Ahh-AAAAAAAAAAA” in the post-chorus is the most blown-out thing on either album. I want to say this was difficult to mix, but nah I was just fucking around
- AFTERGLOW: Had to come down in intensity somehow. Not too much to say about the production; the important thing is the sample choice. There is a high pass filter removing the “wind” effect from the sample though.
- LET IT RAIN: In hindsight I don’t think this track came out sounding very good. It feels like a necessary cap on the rest of the album though. Lyrically it kinda brings everything back down to earth.
for Frida & Eva 💙✨💫🌠💖