ELEKTONE

[elektone]

🚨It is an epic moment to release our first collaboration single with solo artist Stanzsa! "Surreal Intervention" reconnects us to the moment hope turns to reality and everything surreal that comes from meeting someone of your dreams. Listen to this track to capture the surreal feeling now!💥👾⚡️

[elektone]

Whoop whoop!💥… “To The Skies” is out now AND you can listen to my new song on Spotify… 🎉💃🎶❤️

Stanzsa's 3rd single "To The Skies" tells about self-belief and confidence empowered by our own minds. Listen on Spotify now💥💯

#edm #deephouse #electronicmusic #edmgirls #singaporemusic #elektonestudio #nightlight #neonlights #cyberpunk #steampunk

[elektone]

Time for some house music with STANZSA!

Follow STANZSA on Spotify! ❤️

[elektone]

Check out & follow STANZSA on Spotify now!

[elektone]

Here we dig & rewind to vocal trance, the genre we’ve always loved.

Introducing STANZSA!

Female solo power-house vocals, who fronts many rock bands in Singapore. Check out metal band ‘Splinter Shard’, pop-punk’s ‘Revóir’ & hard rocking ‘Mad Medicine’!

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For musicians like us, we know pain, we know loneliness, we write, we express. This is mine, ours.

One to the memories of 2020. For now, we’ll wait for the moon.

[elektone]

Last X’mas 2020

We miss George Michael.. We’ll also miss the craziness 2020 brought upon us..

Nonetheless, here’s our version of the cute, sad & happy Last X’mas..

(Listen/download: Last Christmas by ELEKTONE )

[elektone]

Creative Process Journal #8

Project The Dance of the Flaming Arseholes

Works-in-progress

We’ve always been intrigued by subcultures existent in Singapore’s history but yet, we have never really gone out of our way to take these references as fodder for our art-making.

Of course there will be a gamut of exciting stories in Singapore’s past that could provide us salient points of departure for our future works but...how can a place like Bugis Street become such a banal attraction/bazaar after it's super-glitzy past?!

We found some images from National Archives that confirmed our mental perception of Bugis Street as “the” place to be in pre-progress-driven Singapore right from the 50s to the early 80s.

Oral history interviews stated Bugis Street as “well-known for services from transvestites, and the various Chinese foods, such as frogs, snakes, and so on were the favourites among the visitors.”

This will be a works-in-progress where we will be exploring accounts of people who lived through that interesting phase of excess, debauchery and celebration.

We will name this project The Dance of the Flaming Arseholes.

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Creative Process Journal #7

A few days ago we received a call from JB, a shogaze band, Forgotten Wish had heard about us from past clients & decided to send over their soon-to-be-released track to be mixed & engineered. This was a whole new approach to the conventional Pop Music style of mixing that we always do. This time it was noise-based. It was a peculiar approach to this mixing technique, as we have to get the mix wide & big. Several layers of guitars was necessary, a mixture of guitar effects on the rig was also important namely the metal zone & heavy distortion. Equalisation also played a vital part here as the guitars need to be of high-frequency & sharp but not deafening. This is definitely a challenge to replicate the wall of sound for the shoegaze genre.

[elektone]

Creative Process Journal #6

Project The Girl from Katong - July 2017

Serenaide is a band of friends we have been fans of since we started playing in bands way back in the late naughty ninetees. Fast forward to 2017, through some chance discovery of a copy of Serenaide’s release The Other End of the Receiver, and in off all places, a multimedia kiosk of a library in Paya Lebar, we then felt this strong desire to cover their seminal track The Girl from Katong.

Week 1

- Seek permission to cover the song from Serenaide

- Planned concept and feel for track

- Discussed possibility of re-imagining cover version as a tribute to the biggest Singaporean national campaign/icon ever, the Singapore Airlines’ Singapore Girl.

Week 2

- Finalised details of administrative permissions for cover release with Serenaide’s Pheyroz

- Drafted building blocks and skeletal of track on DAW of choice Ableton Live

- Decided to delve deeper into the synthesis system of Native Instruments’ synthesis machine FM8 for this project

Week 3

- Finalised track to be ready for vocal tracking

- Booked studio sessions to record vocal parts

Week 4

- Finalised track after a total of 17 mix reviews

- Upload final version through Spotify through DistroKid, Bandcamp & Soundcloud.

- Finalise cover art for release

The track has since garnered 11000 plays in Spotify.

https://open.spotify.com/track/7naoXmezqK7KJTNhLOSBMq?si=ivLl0o-kTQiB0BN1GqYDDQ

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Creative Process Journal #5

Recently we had a new referral from a previous client, now it’s a pop-ballad so it’s a totally new turn for us to get out of our comfort zone. The song is an acoustic ballad with choir-like back-up vocals & harmonies. This took a different approach to mixing altogether for us. Songs reference we we took into consideration were acoustic guitar based music like More Than Words by X’treme. The idea was to blend every other element around the acoustic guitar. For the choir-vocals the aim was to get a big hall sound, similar to Abbey Road studio recordings. The results really made us proud. The song ‘Lepaskan Mama’ was released on 4 December 2020 & has now over 200 views on YouTube.

[elektone]

Creative Process Journal #4

Han-Sa is an new band in the Malay music industry here in Singapore, comprising of a one man multi-instrumentalist & vocalist. For every new artiste that requires mixing, we will first have a design meeting. These meetings helps me to understand the needs & direction of the artiste. For younger new artistes, the challenges faced would be understanding terms they would use to describe a musical situation. For example when they say that the drums don’t sound natural, you as a mix engineer have to trace back the causes & understand what went through during the recording process & whether salvage work can be done. Sometimes it’s not magic that will fix the drum sound, it’s usually root causes like mic placements during recording that that make or break a recorded track. We as mix engineers will have to find the best way to explain how some things can’t be reproduced in a certain way due to root causes.

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Creative Process Journal #3

Through these artistes, word got around & through word of mouth & referrals from my current clients, they would recommend us to a lot of other industry related artistes, namely the Malay indie music industry. We’ve got business leads through these same artistes who believed in my work & ability to form that certain sound, I’m grateful for that.

Currently we are working on a few tracks from a new & upcoming Malay Indie artiste, Han-Sa, which also requires that similar sound as The Pinholes. But this time, this new artiste prefers lesser effects like reverb or delay in his mix, he has a huge interest the Motown sound of the late 60’s, which I am really interested in too personally, so it was fun recreating that old sound. I’m already at his second song currently & I’m quite proud to have moulded a new signature sound for this new artiste. That’s the fun part, being able to craft a certain sound for different artistes & they love you for that. We’re blessed on having a creative touch on that part.

[elektone]

Creative Process Journal #2

‘Bring Back The Vibe’ was now ready for mastering in the UK. Our job now as an audio mixer was to render all the tracks into full-sections namely, drums-only, guitars-only, vocals-only & percussion-only as requested by the mastering engineer. One of the norms that we’ve learnt in LASALLE Year 2 was to also to bounce the tracks to different versions which includes the Radio-edit version, the A Capella version, Minus-One version, & Album version for our clients. This has proven very useful on the client’s end without them asking for it on-demand I have learnt.

While undergoing the mastering process, the band had also shot their music video in Johor Bahru, which had undergone the post-editing process, & was now ready for audio-syncing. The next hurdle we underwent was to mix-down the Album version of the track to video-syncing requirement, which is 24 bit 96 kHz as requested by my client. The music video was released on YouTube, 22 February 2020 with over 44K views as of today.

#elektone #thepinholes #elektoneSTUDIO

[elektone]

Creative Process Journal #1

Back in December 2019, we’ve got the opportunity to mix a track for an industry professional band ‘The Pinholes’. It didn’t come easy & it wasn’t our first try. It took a lot of hard work, sweat & tears to finally get the sound the band/artiste wanted, not to mention a long trusting friendship with Famie Suliman, original member & vocalist for the band. The song was “Bring Back The Vibe”. It has garnered over 61K streams on Spotify today. It was released in January 2020.

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Creative Process Journal: Elektone: Then & Now

The journey began one late night in January 2006, a mail from Noise Singapore. Mika released Elektone’s first single ‘Damn This Disco’ on MySpace. The love for shoegaze bands led to their longest member of the group, Eswandy Sarip, vocalist for then Big Red Moment. Already a fan of the lad’s dreamy faded vocal style, the chemistry was timeless. Elektone has since opened for notable guests performing in Singapore namely Jens Lekman, Moderat & Goodnight Electric. They’ve also rocked Fred Perry’s SubCulture 2010 & Music Matters Live 2015. Now as studio recording artistes, Mika is a full-time audio producer & mix engineer for Laekwon Yo, Disko Biscuit, Han-Sa, Kai Nizam & The Pinholes. Eswandy is the vocalist for Disko Biscuit & instrumentalist for Hell Low. In 2017 they released a hit cover ‘The Girl From Katong’ originally by the band Serenaide.

[elektone]

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