Hello everyone!! It's been a couple weeks and change since Constant Companions, my newest album, was released unto the world, and I've been genuinely blown away by the response. Genuinely, thank you to everyone who's been streaming, commenting, making mashups, changing their pfps and usernames - it means the world to me!
I wanted to give some of that love back with something people have been asking me a lot about - and, admittedly, something I love doing. Song explanations! Deep dives! Dropping the lore! Welcome... to the Constant Companions Closeups...
For the next eleven days, I'll be going into each track one by one and babbling about the process, inspiration, details, feelings, and thoughts behind each one! We're getting sappy. We're bearing our hearts. We're telling unfunny jokes. And we're starting with track one - DYAD (featuring unit.0)!
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Naturally, since this is the first track, it also serves as a great point to talk about my intention with this album as a whole!
I'll elaborate more on this with future tracks, but to me, there are really two main things that define the sonic progression of this album versus my previous work - guitars and vocal synths. Obviously, these things have been present in my work since I first started calling myself Jamie Paige, but Constant Companions is intended to be my overwrought, sappy confession of love to these two things that time and time again have made me simply want to make music. I love rock and I love Hatsune Miku dammit!!!
I had originally written this song in February of 2023 for a game-jam-esque online festival hosted by my friend Loni called HAPPY PARTY TRI, and at that time, I had found myself at a major crossroads. I had put out People Posture Play Pretend and :women_wrestling: the previous year, and while the response was nice, I was feeling listless and lost.
I love singing. I like my voice well enough. I certainly love writing music with lyrics!! But... there was something uniquely electrifying about using vocal synths. Amidst a lot of insecurity and emotional turmoil surrounding the process of making art and putting myself out into the world, it was one of the few things that just made everything feel right. Suddenly, I was making the same kind of music that had touched my heart so many times over.
Would it alienate people, though? Would I lose longtime listeners? Yes, that weighed on my mind more than I'd like to admit, but even more than that... I was worried I'd lose some part of myself, as silly as it sounds. Maybe what I thought was a bridge would become a barrier, and the messages I wanted to send across the gap would never find their way.
Ultimately, I felt that Dyad was the only kind of opener I could've possibly given this album, and a perfect fit for the album's motif. A dialogue between myself, stricken with loneliness and a lack of inertia running in circles, and that synthesized voice (ANRI Arcane my darling), grabbing the outstretched hand and asking a question I already know the answer to -
"Baby, do you know what you wanna hear?"
Yes, it's a love song, but it's not just for a person - it's a love song for the creative impulse, and for the places I wanted it to take me.
im resisting the urge to be jokingly dismissive of myself to diffuse tension but i still need to signal that the emotionally bare part of this is over so pretend im doing a funny little dance Anyways let's talk more technical stuff
Like many of my songs, Dyad came together from a patchwork of different snippets and ideas I had laying around. The back half of the chorus - "dream together, we can dream together" - originally came from this idea I had jotted down something like 9 months prior, but ended up being a perfect fit for Dyad in basically every way. The verse snippet that I'd written to go with it got reused for a later song on Constant Companions as well! (I say without naming it, as if it isn't literally lifted wholesale from this demo and thus incredibly obvious)
I wasn't originally planning on brazenly quoting the bridge of a Tally Hall song when I set out to write this song, but while toying around with a bridge idea involving a shortened version of the pre-chorus melody, I realized I had inadvertently copied it anyways. I was going to scrap it... but at the request of my dear friend and certified Tally Hall lover Marcy Nabors, I made it an explicit reference. Which I'm fine with, personally! The first CD I ever owned was a copy of Marvin's Marvelous Mechanical Museum my sister bought me all the way back in 2006 - You can pry that sentimental attachment from my cold, dead hands, TikTok kiddies.
Lastly - not really behind the scenes so much as just a shoutout - thank you to unit.0 for the lovely lead guitar work on this song!! He's been a beloved collaborator of mine for many, many years now, and one of the people who ultimately convinced me this direction was the right one to go in, so it means a lot to share this song with him. Go listen to his music!!! Now!!!!!!
That's about it for this song! Not to sound like a fucking YouTuber, but genuinely, if there are any details you'd like to hear more about, let me know and I might made a bonus post at the end of all this. Otherwise, thank you for listening! Tomorrow: Not Quite There, featuring telebasher!
Welcome back to the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was the title track, My Darling, My Companion, which means today is the final track on the album - a song about the truths that lay in hiding within artifice, and a computer falling in love - Machine Love!
Before we get started on this particularly long closeup - I'll be doing a follow-up post after this one, answering various miscellaneous questions I've gotten over the course of writing these! If you've got anything you wanna hear more from me about, album-related or otherwise, feel free to reply to this post or send me an ask! It may very well end up part of the bonus closeup :~)
In that track's closeup, I mentioned the main sonic touchstones of this release relative to my previous ones being guitars and vocal synths. The whole guitar rock thing I think I've gone into detail enough about, what with all the inspirations I've rattled off in other posts, but there likely is still a burning question for some long-time listeners.
Why vocal synths? Why am I not singing on like half of this album? I thought you were a singer, Jamie Paige, so what is this Hatsune Miku robot Vocaloid crap?
Truth be told, the Vocaloid scene and community has always been a massive source of inspiration for me. So much of my favorite music ever, music that inspires me or touches my heart or makes me go apeshit, has been sung by synthesized vocalists in a language I don't even speak. I grew up with it, and it's grown up with me - music just as intricate, mind-boggling, twisted, fun, and ridiculously creative is being put out every single day by vocal synth producers, and nowadays it's coming from English speaking musicians in droves!
Before this year began, I'd made at least one major contribution to the culture, but in spite of my genuine adoration of everything vocal synth related, I felt like I was just looking in from the other side. Caught between worlds, existing outside of any communities, simply gesturing vaguely towards what I wanted to do.
But I wanted more! I wanted to make the same kinds of things that stirred my heart and made me want to write! I wanted to sing with those same voices! I wanted it to be true - to be like you!
I won't lie to you and tell you Kasane Teto has always been my favorite vocal synth. That title used to go to GUMI, and in general, I wasn't particularly attached to any UTAU voicebanks as a younger vocal synth fan. (Nowadays, I genuinely open up OpenUTAU just as much as SynthV because I've fallen deeply in love with Adachi Rei, but that's a story for my next album.) Obviously, I knew of Teto, and found her presence in things like Triple Baka delightful, but for the most part, she was mostly something of an oddity, a wayward piece of vocal synth history that had her Fans like any other.
However, there was one Teto song I've been inexplicably attached to since the moment I first heard it - Song of the Eared Robot, by nwp8861. I was introduced via this particular cover, which I love, but I quickly gravitated to the original. Something about the warbly, childish nature of her very first voicebank, the ambitiously orchestrated and unabashedly digital instrumental, the lyrics referencing fundamental frequencies and Markov chains and compiling code all just spoke to me!
That song stuck with me, laying in a part of my heart that had been collecting dust, all the way to April of 2023.
Now, yes, Teto wasn't always my favorite, and I had other vocal synths I was attached to, but I don't live under a rock, and I still understood how monumental the announcement of Kasane Teto's Synth V voicebank was - to the point that I interrupted a call full of FFXIV-playing friends who knew barely anything about vocal synths and gave them an impromptu TED talk because I was so excited.
(An excerpt of a summary of that night's events, written the morning after. i was up my own ass a little bit but in my defense Kasane Teto had just been announced for Synthesizer V)
I was watching, in real time, a dream made manifest. It's literally one of the Bits with Teto! That she'd be a Vocaloid one day too! And here she was, on the fan favorite engine, sounding genuinely fucking incredible. Especially in hindsight, it's such a beautiful and perfect twist of fate for her.
I saw myself in her. A weird little outcast, explosively reborn and thrust straight into a community's open arms with love. I wanted it to be true - To be like that, too.
It didn't fully hit until later, hearing another cover of a song I'd almost forgotten.
Machine Love, my love letter to the entire world of unbridled creativity and artistry surrounding vocal synths filtered through one sentimental little song, was fully written by the start of May, maybe 4 days after I had gotten my hands on Teto SV and long before a certain compilation album was even a glint in my eye.
If you haven't heard DAEMON/DOLL yet, you really, really, really should go listen to it - yes, I mastered this album, many of my friends and collaborators are featured, and I have two entire songs on it, but I genuinely mean it when I say I believe it's some of the best fucking music that's come out this year in general. In many respects, it also feels like a companion (hah) to Constant Companions.
I had finished writing Machine Love by this point, but it was working on this album in its entirety - discovering artists like Anh Duy, Eggtan, and beat_shobon through it, and hearing everyone in top form making this twin-drilled chimera fucker sing her heart out - that not only made me confident in my decision to go down this artistic path, but that made me fall completely in love with Kasane Teto. And honestly, how could I not? She feels like a microcosm of everything that makes vocal synths so special, this community of creatives all leaving their marks and touchstones along the trail of a great big shared folk mythos. Yeah, maybe the folk hero we're all collectively mythologizing is an anime girl, but yknow maybe Odysseus could take some branding cues from hatsune miku idfk
Basically, even if he says he wants to kill me, I owe fucking everything to rice for inviting me to work on DAEMON/DOLL.
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On that note, my vision for Machine Love's MV was pretty clear from the beginning.
the actual factual setup for the above shot, which was done entirely in-camera with my laptop, a tv, and two video files manually synced using VLC
The fundamental idea was always there - live-action shots of animation playing back on various screens, edited together to feel somewhat seamless. However, I really struggled with what exactly was going to be on said screens for a while; Big commissions were very far out of my budget, but I knew this song needed something grandiose.
Ultimately, what I arrived at was exactly the kind of scrappy, DIY bullshit it was always meant to be.
I asked my Twitter mutuals for help. And spent a couple months in Final Cut Pro and Apple Motion hell turning all the Teto art I got into a bunch of tiny little mini MVs, some of them parodying real vocal synth MVs, some of simply just evocative of vocal synth MVs, all of them painstakingly edited by yours truly and filmed with the help of some friends over the next couple months across two states and many more cities just to be painstakingly edited and synced up again by yours truly.
THE NEXT MV I DO WILL BE SMALLER IN SCOPE
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And with that, I believe that's the album!
There's a reason it ends with Machine Love, and not with the title track. I do think that in some respects My Darling, My Companion would have made a better closer, but that song only really resolves one of the thematic strands running through the album.
There isn't really a definitive answer to the specific question "Baby, do you know what you wanna hear?", but it evokes a theme running through the entire album - wanting something, knowing that you want something, and simply needing to find the courage to do it or say it or be it. My Darling, My Companion is in many ways a declaration of intent, an acceptance of what needs to happen, but Machine Love, to me, is that action being done. The words being said!
And now, if I may give this a somewhat selfish tint - with the explosive response my works from this album have gotten, my contributions to things like DAEMON/DOLL and Flavor Foley, the collaborations I've done and that I still have in the pipeline, the friends I've made and the community I've found a spot for myself in, and the newfound voices that I can lay my heart bare with -
Well, shit, I know what I wanna hear, and I've gotten to hear it. I'm a vocaloP. It's real!
Thank you all so goddamn much for reading and listening. I'll see you back here either tomorrow or Monday for the bonus AMA post thing!! Make art and be gay, motherfuckers.
Welcome once more to the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! After the nightmarish tiktok voice brainrot of Aggrandicize, it's finally time to talk about Lesbian I mean Liaison!
I don't really write simple and straightforward love songs much!! Love is absolutely a core aspect of my songwriting, and I love a lot of people and a lot of things, but even when I invoke romantic love, it's usually not entirely literal? If that makes sense.
But, like, c'mon. I'm a lesbian. I love women with the best of 'em. Sometimes I just wanna be gay! Especially on an album as fraught with emotional moments as Constant Companions is, I feel like it's really important to have at least one simple moment to settle on.
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oh you want me to say More
Well okay. I like yuri. I like vocal synths. And maybe my himejoshi ass likes making certain combinations of vocal synths do gay shit lesbian style.
lets move on already
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I love the band Phoenix. I'll be completely honest and tell you that I first heard their music when Lisztomania and 1901 came out as DLC for Rock Band 2 but hey that's how a lot of people my age found a lot of music when they were younger probably. Their album Wolfgang Amadeus Phoenix was one of a couple major sonic touchstones for how I wanted Constant Companions to sound - bouncy, warm, synthetic-yet-natural, with multiple shades of idiosyncrasies - but Liaison in particular was a pretty bold-faced attempt to directly evoke their music, at least in terms of arrangement.
Now, I'm not well-read or French enough to fully match the bright-eyed abstract lyricism or historical knowledge of their songwriting completely - but I can be Jamie Paige about it, reference Arthurian legend, and quote another freaking song I wrote
🤼♀️, also known as :women_wrestling:, isn't the gayest song I've ever written, but it's certainly up there, and it gets referenced pretty heavily in Liaison. Maybe this is the aftercare once they're done in the ring? Maybe there are more complicated layers hiding beneath the saccharine sweetness of these hopeless lovers...
Maybe I'm just gay. Ever consider that, huh?
That being said, for reasons I won't go into here, there's some amount of the vocal synth fandom that interpret Solaria and ANRI as being in a sort of toxic embittered lesbian situationship... which does make the layers a little more interesting... though if you ask me? I think lesbians deserve to be happy. What about that you shithead
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Finally, because I have a moral obligation to make sure you've all seen this, please enjoy ODDEEO's very personal and moving take on Liaison.
Of course, let me know if you have any other questions below!! Otherwise, I'll be back tomorrow to talk about the most transgender song I've ever written - Object of Affection!
having dev as one of my favourite anw characters but shaking my head the whole time so people know i dont approve of exclusively favouring white male characters while ignoring or even villainizing the female/poc/queer characters
vaporwave
yousharknotpass
prguitarman
romaincrisis
