Music Thoughts, Rants, Randomness

Flow Vs. Focus – or – directed flow vs. blocking

October 6, 2016 by Aaron

6 figure songwriting, aaron j. trumm, cathy heller, creativity, flow, licensing, music, music business, music for film, nquit music

I’ve been taking an online course about writing music for licensing – Cathy Heller’s “Six Figure Songwriting”. My intention is to find a rhythm writing and producing songs (my songs) that really hit the mark and are what music directors and licensing agents need. Honestly the class (which consists of a easily managed set of videos and then a year of interacting with a private Facebook group and doing Q&As and Webinars with the class leader and her business partner) has been amazing thus far, and completely confronting and difficult, as I work and struggle to find the way to make art that hits the points that music directors need hit, and still stay authentic to not only myself, but my ACT – and/or BRAND. I got into a conversation in the Facebook group, and just a few minutes ago, wrote at length in response to a comment, and I decided I wanted to share what I said on here.

Out of respect for my classmate’s privacy I won’t post their comments first, but they were insightful, and as I tried to communicate my thoughts, one guy was reading what I said as a clamping down on the creative flow, and/or a difficult balancing act – trying to compartmentalize the creative flow or have separate creative outputs, and such. Indeed, I could see where what I said sounded that way, and it struck me how easy it is to clamp down your creative output when you’re trying to learn to DIRECT it – even when you’re just TALKING about it. He apologized about the length of his quite insightful commentary, and that’s where we come in here – my commentary went like this (please note, this is NOT an argument – I genuinely learned from my classmates’ comments, and it led me to this stuff:

My Comments

No worries about length! Look at my long diatribes! I really appreciate the actual discussion here, because we can talk about technique til the cows come home, but eventually this is ART, which means we gotta go deep, because our egos are involved, so growing as artists is also about growing as people. So I really appreciate people engaging in a real conversation with me. 🙂

It’s funny because you read what I was saying as putting a block on the creative flow and I meant the exact OPPOSITE. You said it seemed like I was putting rules on, and actually I was but what I was trying to get at is – there doesn’t necessarily need to be that much rigidity in it. I can see where my long diatribe read that way though, ’cause I said “can’t” like three times – so my intent was turning over on itself as I tried to work out the logic!

The game is sort of both I guess, and I actually don’t mean trying to have a separate artistic output – I mean having a singular artistic flow – “act” if you will, wherein you’re hitting these points on some songs and not cutting yourself off from songs that maybe don’t hit all the points.

I think the best way to describe what I mean is with examples. Let’s say tomorrow I wake up and BAM this great love song springs to mind. It fits my singing style and I even already have tracks that would work beautifully. Maybe it’s upbeat and quirky, but this song is a LOVE song, it’s a pop song – it’s for fans and radio and it’s so specific that I wouldn’t even pitch it to a licensing agent. Do I stop that flow because it won’t be 100% licensable? No way man! Do I try to twist it into something less specific? Maybe…but maybe not. Maybe I let it be a love song and move on to a new song for licensing.

On the flip side, let’s say I have a great idea for a really licensable track – I’ve got some quirky rhythms in mind, I’ve got a screamin guitar loop, and these cool ass lyrics about – uhm – getting your color back *grin*. I sit down to map out production and I think “Ok it would work really nice to do this cutsey – ukelele, and a maybe female vocalist….” wait. at that point I realize I could also make this track equally cool and licensable using my voice, maybe (in my case) a piano – similar rhythms, but closer to my “act”. I could go either way, but it probably makes more sense to keep it within my “act”‘s wheelhouse. That way when I go to pitch this, there’s a whole bunch of history and other songs of that act. I probably have 5 others like it in the pitch, it’s a lot better pitch (pitch as in sales, not notes). Whereas if I just say “hey let me hire this woman off the street because it’d be cool to have a female lead” – what do I have there? I have ONE track in that vein. That’s not a great pitch – and from a more traditional music marketing standpoint, I can tell you from experience, that that lone track with no active act behind it is completely un-monetizable. In fact – even a whole entire record with no active act isn’t monetizable in that realm. Boy have I made that mistake more than once! lol

So the point that I was getting to is really that I was making a mistake in thinking that if I had a romantic love song in me, or maybe a political message, or whatever – that I had to somehow force that part of me into a “licensable” track. That’s not flow at all. Instead, I realized, let yourself do your stuff. Then, learn how to write for the licensing world, knowing what’s needed. It’s just basically letting yourself have a bigger range. The brainstorming process, for example, is a way to DIRECT that creative energy, which, ultimately IS about control – but it’s directed flow rather than boxing in.

Someone might think “I write dark brooding songs” and think they have no way to be licensable but there’s nothing that says that same artist can’t have a happy song. Or a song about pie. And each song holds its own place and has its own purpose. A given song doesn’t have to do everything, and having RANGE like that, while still maintaining a kind of focus of identity is really the hallmark of a professional.

An example – as a slam poet (I was a professional), I had a given style, and it wasn’t comedy, but there was still room for comedic work in my repertoire, and there were a range of different poems in my rep that served different functional purposes (love poem, political poem, spiritual poem, etc). In slam, EVERYTHING is written for the audience, so although there was no lack of ME in there, the entire creative flow was always directed. That gave me enough range to adjust during competition, or to create vibrant, varietous live sets, but none of it was completely off track from my basic core identity. It could all be packaged into my act.

I think in a purely creative sense, authenticity doesn’t have to be about fitting ANYTHING about what you’ve done in the past or might do in the future, or your act or ANYTHING. From that point of view, flow is just letting ANYTHING you think of come forth, and not blocking it (and of course, you cannot improv without that much freedom of flow).

But this is music BUSINESS, and from my point of view, that’s gonna change how the flow works, and that’s ok. It comes back to what [classmate name censored] said, which is you’re not writing for yourself as much as for the client. But I’m adding to that a wider view of your BRAND, and that as you look forward not only to how your pitch will look, but to the future of your brand, you starting looking how you can find the sweet spot where you’re writing for POTENTIAL clients and also for your BRAND, neither one of which is “you”, so it’s at this point, never about your own satisfaction, but then again, it will be, because we’re artists, and flow is always satisfying, and moving other people is always satisfying.

Ok – so – yeah. That may be my longest Facebook post ever too! 🙂 Thanks for reading, if you did! lol

And Some Other Thoughts

And that’s what I had to say there. Writing for a purpose is antithetical to the rebel heart of an artist, but it is directed flow that makes most great art, and I really have no problem with writing for the needs of clients or for what may cause money to made, because I can’t cause someone to spend money on my art without touching and moving them, and THAT’S ultimately the goal. And no, I really have never valued the process for the gratification it gives me. The process is sometimes really gratifying and fun, and sometimes an incredible ugly frustrating grind. My gratification comes when the art is received and makes some impact in another person’s world.

Oh and hey – put a comment, tell me what you think! 🙂 You can contact me too if you want.

Getting Back

August 9, 2016 by Aaron

aaron j. trumm, art, being moved, connection, house concerts, inspiration, intimacy, music, nquit music, shannon curtis, songwriting

So I’ve been trying to “get back” to something quite a few years now – and I’ve been trying to “Get back” to this thing in a different way, so that I’m not poor all the time, not neglecting my health, and not running around in lonely worlds trying to connect. Really it’s not going back – it’s going forward toward something I’d touched before, but is also out there in front of me.

The “thing” I’ve been trying to get back to is really connection, and it’s a thing that I did experience a whole bunch when I was a serious slam poet. It’s why we DO this thing, where we perform or make music or art – we’re really trying to dock our hearts into other hearts and become one again and there’s really zero other things more compelling on Earth.

Check this TedX talk by Shannon Curtis, who really spoke to this:

She mostly tours around doing house concerts – shows in people’s houses, in intimate settings. I did a few of those back in the day, and I had plenty of moments in those and other intimate venues like she describes. Her talking about it, and the music video she describes, where she had fans write their struggles on a paper and film them, made me cry like crazy. I started to really remember again why I was doing what I was doing when I was touring a lot as a poet.

I’ve been very focused for 3 years – ever since my epic lung transplant saga – on business, learning, growing, and making a viable and sustainable business. I’ve been so focused that I damn near forgot WHY I wanted to build that business in the first place. It’s because I couldn’t sustain that job of moving, inspiring and connecting with people if I didn’t have a proper business in place. I just kept having to stop and get some day job I didn’t want and which never really made a dent financially, and eventually it kind of fell apart, and culminated in the destruction of my health.

I LEFT the life she describes on purpose, but I always intended to rebuild that job of connecting, and go back to work. It’s a whole new world now, and I’m new, and the job is new. I don’t wish I was on the road all the time. But doing work that makes that thing happen, where people are moved, and you connect, that’s my role in life, and I think maybe it’s everyone’s role.

It really doesn’t even have to be “art” (whatever that means). If you’re a social worker or a teacher, or a lawyer working to advocate for kids, even if you make something like video games or popcorn or whatever it is, you’re doing that for other people, and your main work is connecting.

So – if you ever wondered about me, or any of my colleagues, why we do what we do, Shannon hits the nail on the head pretty good.

Thanks Shannon!

— A

ps:
oh jeeze almost forgot my requisite link to free music – here! 🙂 www.aarontrumm.com/free-download

Your Music Isn’t Special

July 28, 2016 by Aaron

aaron trumm, art, art business, business, music, music business, music money, nquit music, rock, rock music, special, success, unique

Your music isn’t special!

Oh no! I always hated that saying. People will say it all the time, either when they’re trying to get you to have less ego, or they’re trying to convince you to give up the pipe dream, or whatever. But MOST of the time when you hear that is when you’re learning the real ins and outs of music marketing and business. Straight forward business minded people in music will tell you that right away.

It’s mostly to let you know that you can’t just sit around thinking your some kind of genius and expect anybody to respond to that. It’s weird, egoistic, and most of all, doesn’t work. It was always a bit depressing to me but recently I got a very new take on it in my head.

Now I think that’s very GOOD news. At least the concept of it…see I feel like it’s a relief not to have to make every song some epic world changing thing that will certainly go viral. Going viral is like winning the lottery – quite unlikely. And it’s actually MORE depressing to me to think of pinning my hopes and dreams on something that unlikely.

So, it’s really a good thing to realize, it’s not really the music that makes the success. Don’t get me wrong, you don’t want to suck, and the music is really moving and makes a difference, but success in any business is about relationships. Yes you start with a great product, but you don’t have to worry so much about your product being somehow better than everyone else’s, or when you go on stage being super competitive about standing out or making sure every time you sing a song, it’s this insane transcendent experience for everyone in the room and people are like “holy fuck what did I just SEE??”

That’s crap. That’s the surface facing internet culture and our American tendency to go for the icing and not the cake that tells us that every little thing has to be “special” and everything worth consuming has to be world shattering and like nothing ever seen before. That’s an overwhelming thought because it’s impossible. A song is 3 minutes. There are rules you follow, no matter how avant-garde you are, and there’s really only so much one tune can do. Sure, it moves people, sure there may be transcendence. Sure, you can do a concert that just takes people away, or a video that’s just wildly powerful or moving – but that will never be that special in the grand scheme of things. There’s always that stuff. There’s 7 billion creative people on the planet and there’s no end to the powerful, moving, transcendent material out there.

Part of the clickbait strategy is to sell every damn page or video as some kind of crazy amazing hugely weird thing – headline formulas include “you won’t believe what this guy did..” and whatnot..and you do see a lot of “wow!” – 7 year olds playing drums, dude jumping off buildings, whatever. But who cares? No matter how amazing you are, you’re not the only one.

So trying to be special is weird and overwhelming and it’s really not effective because the more you act like you’re special, the more you alienate people. Really, to succeed as an artist is about building a network of like-minded folk, collaborating, and putting your mark out there. No one can do what you do and in that sense YOU are special. But you don’t really need your music to be special, and you certainly need to understand that it won’t be perceived as all that special for the most part. But you can still build a business, and a fanbase, and take your place among the other badass artists that you have something in common with. And that actually will be enough, in fact, it’s even enough to build to rock star status and become famous.

So yeah – your music isn’t special – that’s not because you suck – it’s because music is small – powerful, but small, and everybody does it – so your music isn’t special. And it doesn’t need to be, because YOU are. So you can relax 🙂

— A

Hey – it may not be special, but I think some of my stuff rocks and maybe you will too – easy to find out by getting some for FREE at aarontrumm.com – LOVE!

A Pinhole Shot From A .38 That Broke The Aching Sun

November 4, 2015 by Aaron

bart train, pinhole shot, subway, suzy, third option, third rail

I have a friend, Suzy, who I’ve known since 2004. I’ve never met Suzy in person. We met on Yahoo Chat. This was before Facebook if you can believe it! Now Suzy and I text and when one of us is drunk, we might call. I’ve seen Suzy go through relationships, deaths, changes. I’ve talked to her mom. I’ve seen pictures of her dogs. She’s helped me through breakups and heartaches. I’ve pissed her off, I’ve made her laugh. This is a good friend.

I met Suzy because for a while in 2004, after I’d been dumped by my girlfriend, I was spending a lot of time locked away in my apartment drinking Bud Ice (because it was the cheapest beer I could find), doing music composition exercises for classes at the University of Houston, listening to Jack Johnson and Manu Chao longingly, and chatting with people online. There were beer bottles and loose leaf sheet music everywhere, my studio gear, such as it was, was strewn about in piles, and I was basically the living embodiment of the blues. There’s something to be said for that, but I wouldn’t do it again!

Anyway, the way I met Suzy is, I saw her name on Yahoo and said “are you real?”, because at that time, these chat rooms were becoming less and less human and more and more spam bot. She always mentions how I said that. Apparently it was a really weird thing to say! I kept talking to Suzy off and on, even after I left Houston. I left Houston to go to The Bay Area, where I was accepted into the Master’s program at Stanford’s famed “CCRMA” (Center For Computer Research in Music and Acoustics), but I was still really sad and lonely from the breakup.

I used to ride around on the BART train a lot (it’s really the best way to get around out there). I did some poetry slam, I did some going around playing the piano at open mics, but generally I was just in school or riding around. I could have gone to hang with my friends who were hanging around with Green Day all the time, but instead I kind of rode around on the train.

As I was finishing Stanford and going back to our insane loft in Oakland, I decided to get the hell out of dodge. I’d been invited to play piano with Buddy Wakefield, who if you don’t know was an individual national poetry slam champion who had just signed with Strange Famous Records, which is the label owned by former Epitaph rapper Sage Francis. I’d done the piano for Buddy’s poem “Convenience Stores”, which turned out to be super popular. So I went down to Austin for the National Poetry Slam, where Buddy was opening for Sage at Emo’s. I remember standing in the audience while another opener did their thing and seeing this insanely pretty girl who I couldn’t take my eyes off of. She seemed to feel the same way because without a word she came up and put her arm around me. I really enjoyed the next part – she turned away for a bit, and it being time to do so, I disappeared and the next time she saw me I was on stage! 🙂 That won me points, clearly, but then she was ALL about getting me to get her into Sage’s green room, and I’m sorry, but I’m a professional. No dice! Besides, I was tired! Time for bed, yo! Heh.

ANYWHO, after I played Buddy’s piece, Sage invited me to come out and play with one of his tunes. I asked the guitar player the key, and he didn’t know, he just yelled a couple chords in my ear. So I made some stuff up on the fly and was digging on the 2000 candles being held up. It was phat.

After that, I did some other stuff and I was back home in Oakland. I forget how this time line goes, but I remember being at the same triangle corner desk when I sent Suzy a set of lyrics for a new possible song as when I got a call from Buddy saying would you like to do some dates with Ani Difranco. (YES!!). I sent these lyrics, to this thing called Third Rail, which was about all the feelings and thoughts that had been swirling around while I rode around on the lonely BART trains at night. I tried for it to be a slam poem, but it came out too rhymey.

It starts with “I see a flash from the third rail, and I wonder where it’s from, it’s like a pinhole shot from a .38 that broke the aching sun”.

Well I sent it to Suzy to see what she thought, and she wrote back right away and said she’d been crying. She liked it. It moved her to tears. That kind of thing doesn’t happen every time, but when it does, MAN, that’s cool stuff. So I made it into this song, which is kind of odd because it has no choruses. It has pianos and guitars by my friend Eric and this ethereal feel (I think). And I learned to play it (VERY SIMPLY) on the piano, and did it around Oakland sometimes. The point, I guess, is that it was kind of an exciting time. Bigger shows, people being moved, etc. I did five dates with Buddy and Ani Difranco where all I had to do was play 4 minutes and take in the sights. I even got paid twice as much to handle merch sales at Buddy’s table! HA! The funnest show was at The Mountain Winery, where my fingers were slightly slow from it being a chilly outdoor venue, I’d forgotten my sustain pedal but Todd (Ani’s bassist) couldn’t tell, and I didn’t have to sell merch because the venue handled it, so I got to watch Ani’s whole show from the side of the stage. YEAH! Or was it L.A.? That was cool because Buddy and I went swimming at Todd’s apartment’s pool, got some good eats, and everybody sang happy birthday to Ani before the show and ate cake. She was 7 months pregnant and we got to meet her husband and everything. It was fun times.

Anyway, the song Third Rail is on an album (Bleed) and such, but I thought I’d give it to you for free here. Because why the hell not? This here is the “dirty single” version, which technically is unreleased although it’s not really different than the album version (it just has a crazy intro cut out but it still has swear words 🙂 ).

So here – download the Third Rail dirty single here (it’s not that dirty).

I think things have gotten a lot less lonely and more inspiring since then, so if you want to hear how that progression has gone, you can check out my new thing Livin Is Bling here. I’d be delighted to hear what you think!

Cheers,

Aaron

I’m NOT About Music

November 4, 2015 by Aaron

connection, hit music, love, music, not about music, top 40

“Well then what ARE you about, Aaron?” you ask. I’ll tell you at the end of this little story…

I was talking with (several) somebody(s) recently about Top 40 hits and whether you could call them “better” than other songs. It keeps coming up because lately I’ve been talking a lot about how cool it would be to have a Top 10 hit song. I used to hide that desire (even from myself) thinking a variety of thoughts like “it’s wrong to be ambitious” or “that’s just sell out crap” or various other things about how super high brow intelligent music or poetry was a higher calling than trying to be some pop star.

Recently, though, I’ve thought about it differently. To be honest, I’ve thought about it differently for about 2 years, since I had my famous double lung transplant. Surely I’ve told you about that?

Oh… well if you don’t know me…I had a double lung transplant. The end. 😉 Heh. Ok ok. On July 4, 2013 both of my lungs were replaced in what is now a pretty common but still utterly miraculous surgery. At that point I’d already been doing what I do for..what?…18 years or so? But obviously things in the music and performance world had gone dormant for me. I’d been in and out of the hospital for about 6 months, after having never been in the hospital (which is an outlier accomplishment when you have Cystic Fibrosis – btw this could be the last time I mention that diagnosis – I don’t particularly want to be identified with it). I got pneumonia in November 2012 and kept being out of breath – constantly – for months. In February 2013 I finally gave in and let my family take me to the emergency room, where I sat for 10 days in ICU. After that I’d get out for a couple weeks, flare up, go back in. I was suddenly on oxygen 24-7 and it took me 45 grueling minutes to walk half a mile around my neighborhood park. Conversations were had in hallways where it was admitted that Aaron is dying. Let me tell you, for a four sport high school athlete and a (low level terrible 😉 ) college ice hockey player, that was a DISTURBING existence.

Clearly I needed a transplant, but I’d been such a non-compliant, defiant sumbitch my entire life, it took a LOT of work to get the doctors to refer me for transplant. I had to walk the walk, talk the talk, do the work, document the work. I had to let people coach me, groom me, manage my image so that I would be a good candidate. It was like being a politician or – dare I say it? – a rock star. I was totally “handled”.

And I’ll tell you a secret: I loved it. Besides not being able to breathe and being on death’s edge 24-7, I loved having a team around me, and when I realized I was actually the LEADER of this team, and that most of what I was doing, with the fundraising and the talking and the grueling pseudo workouts and the thank you notes, was inspiring people, I really got inspired myself. My story was MOVING people. It was like I’d found my calling. I became a transplant athlete and won a bronze metal in the 100 meters 1 year after transplant (which is kind of ahead of the curve if I do say so myself)…

But wait – that was already my calling. I’ve been a musician arguably all my life, but definitely since I was 14, and in the world of trying to be professional since I was 19. I was also a slam poet, which I did as my full time gig (along with some acting) for about 4 years.

In fact, I was the 10th ranked slam poet in the WORLD. I was actually world class at it! 🙂 And it was the same calling. Moving people. Not even just inspiring, but MOVING people. There is absolutely nothing like being in a dingy old warehouse in the dead of summer, Houston, TX, no air conditioning, industrial sized fan blowing everybody’s hair back, a gritty old PA blasting over the fan noise, and just f**** stepping out of your soul’s own way, opening up your arms, and basically stepping outside of your body to watch as a room packed to the gils with folks simply ERUPT, screaming and cheering and clapping so loud you can’t hear that fan, and all collapsing in for a hug or a handshake or a victory lift – except maybe a heartfelt “thank you” from that one dude or girl in the back of the room after the noise has died down. Or being told “I said your poem to my partner and it fixed our relationship”, or simply having someone walk up to you with tears in their eyes after a show.

Coming back to Top 40 songs – there are a lot of definitions of what “good” is, and it really depends on the context. And Top 40 songs can almost never be defined as “good” by a LOT of standards. I looked at my A-list poetry slam pieces and thought about it, and when I was talking to those aforementioned somebodies, something smacked me in the face. The two poems that had made me the 10th ranked slam poet in the universe (see what I did there? 😉 ), were, from my point of view, MY WORST SLAM POEMS. My most effective slam piece, Blink, the one with which I could decimate any competitive field in the country on any day, was amateurish. Repetition, sparce imagery, and pedantic little devices. It really is nowhere near the level of later pieces I’d written once I’d learned how.

But it was HONEST. And it was raw, and poignant, and vulnerable – and it was about love. Specifically about being afraid to tell somebody how I felt. It doesn’t posture or pose – in fact, I say repeatedly “I’m so afraid of you…”. It MOVED people.

Finally I realized, that whatever you can say about a Top 40 song, the thing that it succeeds at is MOVING people. That’s what it’s good at, and if your definition of “good” is “does it move people?”, then the Top 40 is a great place to look for how to do that.

Now suddenly I have no qualms about dreaming of a number one hit. I imagine the people that would be moved by that and the interactions I would have and I think “holy crap”. It could be done a lot of ways – but I’m really into making tracks and performing, so I’m gonna keep doing that, for my sake, but really that’s just a means to an end.

So – the deal is – I’m not really ABOUT music (or poetry, or being a transplant patient). I’m about YOU!

You – being – people. The people reading this. I’m about moving you. Who knows if I’ll ever reign myself in enough to make a Top 40 hit, but hopefully I can start by moving you.

You be the judge though. If you want to listen to my latest try, “Livin Is Bling”, just click here. And email me up and let me know what moved you, if you hear anything you could imagine on the radio, or whatever else you feel like sharing really. I’d love to hear about it!

— Aaron

Keeping it going…

June 22, 2015 by Aaron

aaron trumm, development, free music, nquit music, programming, toptal, toptal test

I’ve very rarely held down a 9-5 job. When I was a touring performer, it was simply impossible. But sometimes being on the road or at home in the studio doesn’t lead to enough money to sustain or grow. Sometimes it does, but it can be stressful to have to monetize every creative impulse.

So, for most of the 20 years I’ve been running NQuit Music, I’ve also been a freelancer. It makes perfect sense to sell the skillset I’ve been building working to build the dream of NQuit. It also makes sense that the most lucrative of those skills is software and web development. NQuit was one of the first labels to have an internet presence, starting when it was hosted at UNM as unm.edu/~murphurd. Over the years I’ve used NQuit as a platform for building a formidable development skillset, not only by doing projects for NQuit, but also by using that same business structure to hire myself out. Of course I’ve done plenty of audio and such, but the great thing about web dev is as long as I’ve got my laptop (now I actually use a PC-Powerful tablet), I can be on the road (or at a park or the zoo) and still work. It’s good to have this flexibility!

I used to rely on word of mouth and Craigslist searches, but those methods tend to dry up at times, and Craigslist has become overrun with scams and bad clients (clients who won’t pay, who don’t understand the value of the work, or who make helping them impossible). I started to grow very tired of small time, disorganized clientele a few years ago, so recently I thought I’d check out some freelancing sites like upwork.com, elance.com and freelance.com (among others). There’s still some small clients, but so far it seems promising.

Now I discovered an exclusive platform called Toptal, which has a thing called the Toptal PHP Freelancers Group and this seems extra promising. I’ve already noticed through upwork that this new environment causes me to try to deepen my knowledge and organize my pitch and portfolio better, so that’s a good thing, and it’s exciting to think I could find a platform that will really lead me to solid clients, and maybe even to some cool projects.

So, I’ll be getting all competitive about getting in with Toptal, and hopefully income can stabilize. Wish me luck!

**EDIT** Holy crap that was lame and hard but – since then I’ve learned some things. And I just want to say, grab some free music from me, ’cause that’s what I’m really doing dude: HERE aarontrumm.com

Change?

October 15, 2013 by Aaron

aaron j. trumm, albuquerque, bring it back, change, free music, m.c. murph, manny rettinger, music, nquit music, rap, slam poetry, ubik sound

I have an old old song called “bring it back“. What it’s about is how I would sometimes go back into my older material, listen to it, and find out that it was better than I thought, and get all inspired. As if I was listening to someone else’s music.

I’ve found over the years that this process is kind of crucial for me. every so often (a year? two? fifteen?) I end up going and listening through a bunch of stuff that I’d practically thrown away I thought it was so bad. But I always find ideas and notions – as if I were my own muse.

I do this with other people’s stuff too, of course. That’s most of what I do with listening is just pour over people’s stuff and wish I could make something like that and file these ideas away in my head.

What i was noticing tonight, listening to some of my older more angry stuff, is how wrong I’ve been in thinking that I just want to throw away my whole self – I don’t want to be as angry and upset as I was 10, 15, 20 – 2? 🙂 – years ago, but there’s a fierceness and a fearlessness in some of what I was doing that I don’t want to lose…

I have to figure out how to balance these notions. To be fierce, strong, wild, tough…these are useful tools – even anger is a gift, as ‘ol Zach Del Rocha once said (over and over 😉 ). But a violent fearful attitude, even when spoken fearlessly? I don’t know that I want that – no – I know that I don’t.

Maybe that song “bring it back” was a little more deep than I thought. It’s not just about looking back at your art – it’s about looking back at yourself – at life – at history maybe? And bringing forth the good from it into the future – and, hopefully…leaving the rest behind.

Ok – well – now that I’ve said that – why don’t you get some FREE MUSIC over at aarontrumm.com? 🙂

The Underground

September 3, 2013 by Aaron

aaron trumm, artistic development, battle, blue dragon, free music, helios, nquit music, nuyroican, performer, poetry, slam poetry, spoken word, underground

I wanted to think about something. The roots of everything pretty are underground. I said this 8 or so years ago on my 2nd CD:

…deep underneath that crust of the earth
are animals that really have some girth to their worth
you’re growin up the flowers of commercialization
forever will the roots remain UNDER the nation…

This speaks the legitimacy of the underground.

But what of the underground? How long can a seed stay under the soil? Is it not the seed’s destiny to grow into a mighty oak or a beautimous bloom?

I could easily quote Howl now and make my point – I’ve seen the best minds of my generation – blah blah blah. Which is to say, we, the counter culture, we, the underground, are destroying ourselves. Sure, I imagine there are some that shall and should always be under, down, deep deep deep, feeding the rest, and some that never know the power of the earth, and that never realize that who THEY are, what THEY see, what THEY know to be “normal”, is always and necessarily the child of the underground.

The seed becomes the seed first, then it becomes the oak. Not the other way around. These places here, the Helios bar in Houston, the Nuyorican Cafe in New York, the Blue Dragon in Albuquerque, these are the places where we come from, where we cut our teeth, and where we owe our undying allegiance.

But a man child doesn’t stay at home with mommy when there’s a battle to be fought. Disregarding for a moment my notion that battle may not be the answer, I would say to those of us with fire in our bones, why are we still here, cowering in the underground, smoking weed and methamphetemines, drinking ourselves into obvlivion, when so many of us have grown into might oaken warriors and have always known it is our task to take these amazing new things that were born in the underground out into the overground and into the sky?

Why, if we are unsatisfied with our leaders in government, are we not running for offices? Why, if we are unsatisfied with our pop icons and movie stars, are we not replacing them?

We spend far too much time speaking harsh words against our brothers in the sky, when in truth, they are merely humans like us, only they have chosen to sprout. Sure, too many of them have sprouted, forgotten where they come from, and begun to choke the very nutrients out from under themselves. No, I do not think it is alright for George W. Bush to run around smiling and laughing taking golf vacations when some of us have three jobs and 11 grand of debt, and still others are begging for change under bridges. No, I am not surprised. This has always been the way it is. It’s not even necessarily wrong. But TOO MANY people are disatisfied and DOING NOTHING.

I’m not a politician. I’m an artist. I’m a performer. So what should I do? I was reminded last night of the concept of my circle of influence. Yes. I shall operate within my circle of influence. I shall perform. I shall create. And when someone who has been languishing underground for 2 or 5 or 15 years, a choking struggling oak tree pretending to be a seed, I will hand that mother fucker a shrink wrapped package with his name on it.

This is what I can do. Next, I will do more.

I’m not going to Baghdad to do nothing for no one. I’m not going to Taos to hide in the fucking mountains like a coward. I’m not going to hole up in Thailand making records, as if making random recordings for no one to hear had anything to do with anything. I’ll see you in L.A., the fray, New York, Washington, Houston, London. I’ll see you on the streets of Bangkok or on the front page of the Times. I’ll see you on Jay Leno and Windows Media Player. I’ll see you in the Helios throwing bags of cocaine into the street. I’ll see you SOMEWHERE, is the point.

Now I say, here’s the test, here’s where most people fail, where G.W. is failing, where Capital Records is failing, where all of us at the Helios are failing: Is this about me? Is this is a contest? Will I be preaching to the democrats and left wing whiskey drinking poets to stand up, fight for yourself, and win the battle? Fuck ’em all? You’re nothin if you don’t take care of number one? Wouldn’t I just be a conservative then? When will I flip over and become what I hate? Do I have to? Or can I dig myself out from under the earth, fly into the big pretty clouds and BACK again, and never become bitter, mean, cold and heartless? I’ve proven to all that I can win a damn contest. You don’t believe me, come throw a punch at me, see what happens. But what is the POINT of that? What is the point of being ALONE on Mount Olympus? I’m not here to take everyone out, for God’s sake. That would just be BORING.

This week I will be handing one of those packages out to somebody that said three times last night, “I will battle compassionate conservatism with compassion.”

Understand what that package is, my man. That’s the dirt coming off. That’s the seed pushing through the thawing ground, that’s the oak, that’s the bloom. Could be a new nation or a simple CD. Still an oak, still a bloom, still worth showing someone sometime.

See you in the fray.

Speaking of the fray – go get some free music from me before I change my mind! CLICK HERE FOR THAT.

Music blog, here it is

July 3, 2008 by Aaron

aaron j. trumm, blog, inspiration, music blog, nquit, nquit music

I don’t want to call this an experiment ’cause that jacks with my sense of it being worthwhile. This is a new blog, where I’m gonna talk about my music, and I might talk about other music or even art. I’m just gonna talk about it, from a conceptual or emotional level. I’m probably going to post a lot of mp3s to download because ultimately I want more people to listen to and enjoy the stuff. I might talk about other people’s stuff, and I might refrain from getting into whether stuff is good, bad, etc. Let’s be clear, though, I’m not a reviewer, I’m not a press person, I’m not even really a label exec (even though I own my label). I’m just an artist and most of the bullshit around it has gotten so old.

So now there’s a couple of us, me and Iguanamind/Larry and monkeyking/Troy specifically, who’ve been developing this new way of thinking about art and music, and originally it had a lot of “let’s make a revolution” in it, but over the years, I think we’ve all come to this need for relief. We’re not fucking politicians, we’re musicians. All we ever wanted to do was just make the stuff. For me, it’s still not about just making it, but sharing it, and that’s where things go awry, because then it gets to be about promotion, and popularity, and competition, and man, this stuff, the message that I’m receiving in the melodies, the one that’s straight from God or the Universe or whatever, has nothing to do with all that.

So first I started changing my NQuit site to just be about presenting the content, and then Larry convinced me yesterday that creating this blog which is not about promotion, not even about technical stuff, just a thing to basically express, and let whoever will appreciate it come, would be a healthy thing.

I don’t know if I’ve said anything clear there. It doesn’t matter. I’m gonna put a link now to a really really old track, but I don’t care, because I really just want to put as much content up as possible, so fuck it, I’ll start with stuff that’s 13 years old! It’s my old stage name, and I think it’s dorky so I dropped it, but here’s a track:

[sc_embed_player fileurl=”http://www.nquit.com/sounds/MCMurph/ArtisticApocalypse/02MCMurphMagneticPoetry.mp3″] Magnetic Poetry by M.C. Murph

How the hell do they DO that?

July 1, 2008 by Aaron

aaron j. trumm, how to they do that, madonna, mixing, music, nquit music

I’ve been in lots of studios, compared to the average person, and I have to tell you, when I listen to the latest Madonna stuff, I cannot for the life of me understand it. These mixes sound SO incredible on EVERY damn speaker. I hear the stuff and I say “how the hell do they DO this?”. I cannot understand how it gets so present. And I have a master’s degree in “computer research in music and acoustics” aka “music, science and technology” from Stanford University.

I mean is it just the effort/time put in? I mean for sure you can’t go from something, say, I’ve done and make it turn into this stuff just in the final mastering stage. That much is obvious. But even the mixes, it’s like they’ve got better sources to begin with. I – I – I. Erg man.

Listening to Madonna’s “Confessions On A Dance Floor” right now on some new little studio monitors I got. Goddang.

That’s the thing that making recordings has always been for me. This relentless need to make it sound “real”, to make it sound as good as the records I hear. Unfortunately I feel like I’m just perpetually behind. Granted I work with comparatively NO resources. But that’s something that always grated on me, was that in order to do recordings that well, you have to try and access this money and power thing.

I guess that’s true about most things. That sort of brings up the question of where money, power and intent cross over.

I’ll come back and edit this and put some sort of link to a track from this record when I’m not so tired.