www.vincentprojects.net
First, let me tell you about myself as an electronic music enthusiast. This is a biography from the main website of Vincent Projects:
I’ve always been a listener of music rather than a musician. The only instruments I played in the past were someone’s living room synthesizers with preset pad sounds and plucking at random acoustic guitars. I grew up in a musical town but never intended to take any lessons. While in college, I befriended local bands, and one friend suggested I should pick up an instrument, but I never did.
Though I wasn’t bad at selecting cassette tapes and CDs for recording playlists to listen to in my car or to show off to friends at work on assembly lines in Silicon Valley. My interest shifted to computers after attending a graphic design school, where I discovered that it’s possible to make music on a computer. While it didn’t happen overnight, having a good ear for musical sounds has been helpful along the way.
Most of the electronic music projects I work on today are original. I also enjoy mixing royalty-free samples into my tracks. If I use vinyl records or cassette tapes as samples, I have to make some changes to avoid recognizable elements if I plan to publish the work as an album. Creating melodies from electronic sounds has become second nature to me. I’m also curious about the next steps in evolving electronic music as part of my artistic journey.
I started music production around 2005 when I was in my early 30s. I’m 50 now, but music production always keeps you young at heart.
I consider myself more of an experimentalist, though I mostly work within recognizable genres of electronic music, such as EDM, Synthwave, Downtempo, LoFi, Ambient, and Jazz. I also explore Space music, which is slightly unique, alongside Circuit Bending. As I get older, my taste in sound design has become more mellow. Therefore, I find myself experimenting with the art of sound in therapy music, including mimicking flutes.
It didn’t happen overnight, but thanks to some guidance from folks at Guitar Center, who showed me a bit about simple sound engineering, I now have thousands of audio cables and a bunch of gear stored away. Not saying that's a good thing, but I've experimented. I’ve also sold some equipment that might be better suited for someone else.
As of now, my weapon of choice are the Korg Kaoss Pad 3 and the Korg Kaossilator Pro+. I believe these two devices are a perfect combination that have helped me produce four albums so far. These albums have been promoted across various distribution platforms, including Apple Music and Spotify, and vice versa.
Besides taking a leap of faith by signing with a label to gain more streams on Spotify and Apple Music, and seeking concert opportunities for greater exposure and higher earnings from ticket sales, there are other platforms where you can increase your streams without performing live. Recently, I tried SubmitHub, but there are plenty of other platforms as well with varying reviews—some excellent, some potentially dubious. You just need to do your research.
Regardless of whether you work with big labels, you still hear about artists who, despite their streaming success and fame, face severe personal struggles. Many artists are spiritually troubled from the start; although they are musical geniuses, they have their own challenges. I have my own struggles and demons as well, which is why I create music. So far, it has felt like a piece of heaven for me. I probably shouldn’t mention that part, though, since I’m mainly blogging about why I took my albums down.
First of all, my albums are not labeled and not really fully promoted, so that is a good thing. Maybe just a few listeners from friends, relatives, and crushes, and even haters; it’s funny how, as an independent artist, the haters seem to be more visible. Now, I am tempted to take it to the next level, just to earn protection from cyber attacks so I can express myself more as an artist. Although I am older now, electronic music seems less affected by age-related musical prejudices. I think Willie Nelson is transitioning into a performing DJ.
Well, I wasn’t happy with some of the tracks on my album. And it doesn’t matter if someone else likes the tracks—I want them out. Some of the tracks I do like aren’t categorized correctly, which has led to my regret over publishing them and my desire to remove them for a long time. For instance, a LoFi track is mixed with an energetic EDM Disco track. Although I like both, they need to be categorized separately. Additionally, I want to fix some tracks, and others have become corny to my ears after repeated listening. Those are the ones I want to remove personally.
Instead of designing the album covers myself with my background in graphic design, I will also consider hiring album cover designers, as well as for my Apple Music artist profile—though no pictures of me.
Anyway, here are my previous albums:
EXIT (first album).
Released on 2016, November 11.
20 tracks featuring a diverse range of experimental genres, including EDM, disco, reggae dub, Latin dance, breakdance music, ambient, space, lo-fi, and synthwave.
As you can see, the genres are chaotic, though some that I thought were still good even today. I would say that around 2013, when I got my pair of Kaoss, I noticed I started to peak. If you want to listen to them, they are still available on SoundCloud.
Titles:
1. Speechless
2. Basic
3. Like Batman was Afraid of Bats
4. Bomber Jackets
5. Eastside Radio
6. Decoys
7. Deepspace Scavengers
8. Exit
9. Rollers
10. Purple Flowers
11. Land of the Broken Hamstrings
12. Roses, Thieves and Killers
13. Shootya
14. Stirred, Not Shaken
15. Superheroes
16. Swan Legs
17. The Box of Shame
18. The Last Mile
19. Tiki the Toothless Tiger
20. Twopence
Radio Reception (second album).
Released on 2020, November 26.
13 tracks of experimental, ambient, space, jazz, and lo-fi.
This album is probably the closest to perfection in terms of how the tracks flow as one cohesive genre. However, there are still some tracks that I regret including.
Titles:
1. Enterprise
2. Capiz Blues
3. Lazarus
4. Colonies
5. Extraterrestrial Summer
6. Monkey Heaven
7. Tiki Gods
8. Radio Reception
9. Steams
10. Next
11. The Box of Shame
12. Speechless
13. Elevator Music
The Turquoise Flute (third album).
Released on 2022, June 13.
20 compilation tracks from my albums EXIT and Radio Reception.
I struggled to keep this album, but some of the tracks, especially my favorite, 'The Turquoise Flute,' need fixing from a professional audio engineer. Therefore, it was much easier for me to take it down.
Titles:
1. Extraterrestrial Summer
2. The Turquois Flute
3. Monkey Heaven
4. Capiz Blues
5. Tiki Gods
6. Radio Reception
7. Enterprise
8. Elevator Music
9. Colonies
10. Like Batman was Afraid of Bats
11. The Last Mile
12. Land of the Broken Hamstrings
13. Exit
14. The Box of Shame
15. Shootya
16. Rollers
17. Superheroes
18. Speechless
19. Decoys
20. Twopence
Press Start (fourth album).
Released on 2022, September 23.
8 tracks of EDM, ambient, synthwave, lo-fi, and chiptune.
Titles:
1. The Carousel
2. Tracers
3. May Araw
4. Halloser
5. Wasabi Sandwich
6. Carbon Planet
7. Versatile
8. Press Start
Everything is okay here, except there is something off with the snare drum for my track, 'Halloser'. So, mind as well take this down one too. My track, Press Start which is the title of the album was a personal fun project, and I thought of not publishing at first but I did.
Anyway, most of these tracks are coming back—some the same, some different, and the rest new, though with the same title. This time, they will be more categorized.
This is the last album, as it also marks the beginning of my journey in storytelling, where blogging pays off by allowing me to transition my personal theories about the intriguing aspects of life on Earth, in space, and beyond into science fiction. What triggered this was the idea of turning these concepts into a film. Most of the music I create tells a story, and writing is like crafting a melody.
Perhaps due to the lack of a wider art studio to work in, I’m drawn to this medium: music and storytelling. Although I miss traditional art, it's much cleaner and lighter than the smell of charcoals, paints, clays, and stones. Digital art is fine, but it lacks the same textures. On the contrary, as I’ve gotten older, audio cables can be quite back-breaking. I wish I could turn my limbs into robots and keep producing art.
Please also purchase my Books available at Amazon and Kindle Unlimited.
Self-Published on May 26, 2022.Carbon Planet: Our Destiny In The Stars
Description:
A group of friends boards a fishing boat, and they venture out on a big lake the weekend they watch their hometown football team play for the championship. Then, they get abducted by an unknown ship. Months later, the FBI investigation of their case goes cold. Instead, their loved ones and families hire a private detective from a comic book ad to continue the search.
Self-Published on October 22, 2023.
Description:
Nathan and David, two college friends from Berkeley, embark on a duck hunting trip in Michigan with Raymond. However, their adventure takes a surreal turn when they stumble upon a mysterious portal that thrusts them into the distant future. In this future, Earth is a humid, waterlogged world with only a few scattered islands, inhabited by colossal mythical creatures. Humans can only survive in the oceans, on the moon, and in the exosphere.
Elite soldiers from an undersea metropolis guide them through the history of this transformed world as they set out on an epic voyage. As the soldiers' city faces imminent peril, David and his friends are tasked with a mission to alter the course of destiny.
As of now, in my literary journey as an art medium, I have a new manuscript titled PESTILENT: A Zombie Apocalypse Novel, and I am seeking literary agents to help get my book into traditional publishing. Like my other books, I also want this to become a major film.
Description:
Doctor Hans Muller, infamously known
as Doctor Murder, who, in his obsessive pursuit of reanimating the dead,
creates a formula that instead transforms the deceased into monstrous entities.
As his sanity unravels, Muller sells the formula to an eccentric general with
sinister plans to use it to subjugate his people. To ensure the success of this
deadly project, they relocate to the remote town of Stellarville, where the
virus takes on a life of its own, leading to catastrophic consequences.
Main Website:
Music Website:
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