A lot of how we compose and produce our music is actually just jamming and improvising and
feeding off of each other's energy.
When we go into the recording studio to work on our album, we're tracking with the gloves.
It's not just something that we put on when we perform, it's like "Hey, we gotta make
a song, let's record the parts, and let's put that human expression into it, and ship
that out to you guys".
One of the goals that we had with this song was to kinda create this feeling of "swelling",
and having the whole track sort of "breathe".
The way the song opens up is with this bass note that, kind of swells from nowhere, it
kind of starts low, and it grows in aggressiveness and in energy.
There's a filter that's on the bass that's kind of adding this, low-pass effect, or a
"muffle" effect, and there's also a kind of pulse to the bass, there's like a rhythm that
you hear.
I'm opening a filter by—essentially, I control that by how open my hand is, so when I'm doing
this bass swell, I open my hand, to let that filter out, and also let in some of the higher
frequencies.
And then, I'm also modulating the depth of this pulse, by moving my hand from left to
right.
While I'm controlling that bass, at the same time, I'm also fading in this drum track.
So there's several layers to the drum, and I can fade them in by, moving my right hand
up, and each finger actually controls a different layer of the sound, and there's kind of three
layers.
So, as I'm going vertically, I'm, essentially literally stacking these drums up.
So I bring in a kick with one finger, and then I bring in a snare with another finger,
and then once those are fully faded in, I start going to the next layer, and my hand
keeps going higher and higher.
This is happening throughout the whole first verse, all kind of ramping up towards the
drop.
And this is something that is sort of a unique sound that we really wanted to capture—is
this smooth fading in of different drum layers.
A lot of the time you hear like, things just kind of ramp up from one energy level, right
to the other.
We wanted to have this track be a little bit more, fluid, and have this feeling of swelling.
So the way we usually divide up our songs is Mike controls the bass line, and I usually
play a lead melody on top of it.
When we design our leads, as a vocalist, I try to actually create sounds that I can control
as intimately as I can control my voice—like being able to control the volume, and the
pitch, being able to do pitch bends, vibrato, and being able to add things in like the amount
of reverb, and the amount of distortion, and all sorts of parameters about the energy of
the sound, was really important.
The way I control the lead is, basically I have different notes on my fingertips.
One fingertip will be one note, and then another one will be another, so I kinda have the scale
on my fingertips, so that I can access a lot of notes very rapidly.
I can control volume of the sound, by raising and lowering my hands, but I can also do things
like reverb, like I mentioned, where I control the amount of echo in the sound, by moving
my hand forward or backwards from my body.
I actually have continuous control of pitch with this lead, so while I have the note on
my fingertips, I actually control the pitch bend, away from that note, with the way that
I orient my hands, so I can actually pitch down and pitch up.
This allows me to do some really cool things like at the beginning of this video, what
I do is I start from this really quiet sound, and then I kind of pitch up.
So a lot of things are happening at the same time—I'm making the pitch go up, I'm also
making the volume go up, I'm also changing the amount of reverb in the sound, all at
the same time, which is this really cool thing that we're able to do because of our instruments.
A lot of this song is actually, more about the expression and the tone quality, than
even the notes themselves, where like most songs are driven by the melody.
For example, in one phrase of the song, I'm actually, literally, just holding one note,
and just sustaining it, and opening and closing it, and we thought that was something really
cool, that we hadn't really heard before.
The next section of the song is this build that happens.
The build is really where we take this swelling idea, and really take it to the extreme.
We kind of had this idea of building it all the way to the point where it just turns into
this super noisy wall of sound.
And as far as the composition of this build, there's a lot of things we do to add tension.
As this whole build is happening, there's more drums that are coming in, I'm layering
in extra layers—there's this kick that comes in, that's kinda like a house music rhythm,
where it's like, just a kick on every quarter note.
The bass is kind of doing some interesting things where, we go from an E to an F, which
is a note that's not in the E minor scale—this kind of dissonant second interval, and it
creates a cool texture.
Really the key to this build, and the coolest part, is actually just like the very end of
it, where I'm doing this really long pitch bend, basically from just below the tonic.
And then we have this effect that we kind of call the "Big Bang", and that actually
brings in a bunch of different effects—so it brings in things like an amp, a filter
delay, a hyper and a dimension, and also a filter on top of that.
We thought it just like literally destroys the entire track, and turns it into white
noise, and I bring that in by kind of just shifting the difference in the depth, between
my hands.
And the cool thing about the "Big Bang" is, it sounds like you actually took that original
sound, and you somehow spread it across the entire frequency spectrum.
So we have this really flowing verse, and we really wanted to create a lot of contrast
between the verse and the chorus.
So when the drop hits, it changes completely from, you know, this flowy, swelling thing,
into this very staccato, sharp, choppy thing, where basically I'm just triggering a bunch
of samples, and while Mike is playing the same instrument, during this section, I'm
actually playing a different instrument.
And that's kind of an important concept to the way that we designed our control scheme,
and the way that our gloves control music, is that we actually are able to have different
instruments, different virtual instruments.
For us it's very similar to somebody who plays like a violin and a guitar—you know it's
like you have a guitar, and then you can put that down and pick up a violin—it's the
same thing for us when we switch instruments, it's like the space around us changes.
When we switch to the drop, you have this kind of, this drum loop that has some funky
hi-hat patterns to it, and it's layered with a sub as well, and that's kind of the foundation
that the whole drop is based on.
And then, to kind of make the chorus a little bit more full, we also added these arps, as
well as, this kind of sound that we've nicknamed a "wolf" sound, because it's like a vocal
hit that has this pitch slide in it—like an "ar-hooo!"—it basically sounds like a
wolf howl—yeah like a pitch-bended up sound.
In the second verse, we wanted to have a verse that had a little bit more energy, given that
we've basically built up all this energy in the song, with the first build and with the
drop.
We bring in a different drum pattern than we had in the first verse—where in the first
verse, the drums are very straight, this you have a little bit more syncopation, and you
have some interesting kick patterns happening, and the bass isn't just modulating a single
note, the bass plays a certain chord progression.
I kind of reflect that in the melody—the melody is a little bit more catchy, more interesting.
There's still a lot of modulation with the lead, but the second verse is probably more
about the notes actually, than the modulation.
I have a pentatonic scale on my fingers, and that's kind of how I discovered some of these
melodies, is really just going down and up the scale, and a lot of these melodies are
literally just a descending pentatonic scale for like four notes, and we switch between
what note we start on.
What we really want people to understand is, the gloves are our musical tools.
We really built and created our own tools, that really allowed us to dig deep into controlling
these electronic sounds.
The gloves are really integral to, not just how we perform the music, but how we compose
the music.
In the song "Awakening", there's literally nothing that we're not controlling.
Every single element—down to the notes, down to triggering these drum loops, down
to playing the arps and the chords, and the modulations—it's all being done in real
time, through our motions and gestures.
Hope you guys enjoyed this video—if you liked it, definitely give us a thumbs up,
and subscribe, hit that notification icon, so that you'll be the first to hear when we
put out new music.
And, make sure to stay tuned, because we're gonna have an album coming out this summer,
and we're definitely gonna be doing more break-downs like this, for more songs, and songs that
we have coming out later, so stay tuned.
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