The temptation to think about songs academically can be a real impediment in my opinion (imo), a real obstacle to making great songs. Isn’t knowledge essential? Aren’t we all about the business of creating songs that appeal because they have something other songs don’t? Isn’t it true that we want the credit of making something truly original? If you’re subscribed to this sublemmy, it seems reasonable to conclude that you’re here to learn ways to add this novelty to your own songs like me.

Thus, we start down the path that imo eventually leads to Dream Theater (DT). I know some people love DT; so, I must choose my words carefully. Let’s just say DT doesn’t connect with me. I hear 10 million notes in a short period of time, and I am compelled to honor and respect the accomplishment that it represents… but it does NOTHING for me. Simply put, I just don’t feel it.

Now, there is a group called “Arena” that has a DT-sounding album called “Pepper’s Ghost” that really got my octane-a-burning, but I think it’s because there isn’t a whole tidal wave of unnecessary notes on it. I liked that collection of songs so much that when I bought the CD off Amazon (It was like 10 years ago), I bought a 2nd CD to give away because I was convinced the recipient would dig it. Anyway, while I dig Arena, I just haven’t been able to get into DT… yet.

My point is that a composer who thinks that complexity is the key to connecting to the feeling part his/her audience is a composer who imo will fail to make that connection… unless the target audience is a bunch of other musicians. I simply have the impression that as artists, sometimes we have the obligation to honor the feel instead of the academia in our brains, which means having the courage to make simple things when we realize that they work. Who will want to hear our music years down the road when we’re all dead?

This is why I suggest directing your attention to the album linked to this post because it DOES connect with me, and suspect it might connect with you too. It’s an album by young-ish Canadian artist, Munya. Munya doesn’t seem to have any crafty chordal tricks up her sleeve, but before you discount her, I recommend taking note of all the things she does have going on that seem to work very well. There’s lots of well-implemented effects, vocal harmonies, charming guitar, dancing bass, and imo it all sounds great. Speakers placed far apart and a subwoofer greatly improve the experience, which is why I don’t think that a phone’s built-in speaker(s) will convey all these impressions. If you’re subscribed to this sublemmy, I sure hope you are playing your streams over a real stereo. You can use the headphone jack to connect with a stereo, and if that isn’t good enough for you, you can get a DAC off Amazon for under $50. If you don’t have a stereo, you might want to do like me and head to the thrift stores. If you go about it patiently and systematically (in other words, NOT making a purchase during your first visit), I think you’ll be very pleased at the amazing values you can bring home.

I’m also starting to think that a huge part of her accomplishment lies in her choice of melody. She obviously isn’t scared to fly straight towards the Stratosphere. After all, a chord progression alone is not a sign that composing is finished. Another thing is that she does apply key changes, but they are so subtle that I notice them only when I pay close attention. Maybe there’s a lot of chordal progression complexity there that I just haven’t noticed!

Her chords strike me as uninteresting, but on the other hand, I got this album on repeat with no plans to stop it. The logical side of my brain is in conflict with the feeling side, and right now the feeling side is winning. What do you expect when it’s late at night? That’s a time of day ain’t nobody trying to impress others. My academic side is protesting, but my a-- and my heart just want to sway and groove with it. Houston, we have a disconnect, and I’m trying to reconcile the two. I cannot deny that I indeed feel this music. It connects to me, and I love it. No fancy chord progressions here THAT I HAVE NOTICED. I can say these appear to be peaceful blissout tunes. IMO, this music WORKS. Why would I be interested in cerebral ideas about songs when sometimes the simple stuff gives me the hit that my soul craves?

Maybe I dig Munya’s music because of all the effort applied to the song AFTER the chords were set in place. There is amazing value in reverbs configured just right… panning tastefully applied… lovely guitar sounds, and, of course, that melody and key changes applied in a way that doesn’t distract. It seems to me that sometimes THAT’S WHERE THE MAGIC IS. Maybe we shouldn’t be scared to get simple - provided we tweak our knobs to get it to sound in some way that allows US to feel it. After all, if we aren’t feelin’ our own tunes, why would we hope that others would? I recommend listening to this lady’s albums. If you think all of this is an advertisement for Munya, then my recommendation is to simply check out artists who are similar like Le Couleur or Paradis if you like dreampop or whatever they call this. Everybody has $0.02, but if you share a link that demonstrates your point, your contribution increases in value. In your opinion, what songs produce MAGIC? What songs make you want to stop thinking so that you can FEEL? What songs/artists do you play on repeat?