#goboy

[tvboaerosmith]

OldGen Catches Up On GentarE4-SopanE4

Just somewhere to put down my thoughts while I was catching up on the newest Boboiboy season from where I left it off a year ago in haste. I had PAT when Sopan came out so I couldn't watch it until now, and even then I had to watch this while doing my BM homework, and now I'm neglecting my addmaths homework through this post but sfhsdhfsdhf whatever that's not the point let's ramble

Gentar why you so eyes? So, so pretty. Always loved that about his model; His eyes glow.

Oh my fucking god is Gentar just the 200% more gay element of Boboiboy or something This clip makes the 9 year old in me want to ship Goboy because WHO SLAPS SOMEBODY ELSE'S BELLY AND THEN SLIDES THEIR HAND ACROSS THEIR FACE LIKE THAT PLATONICALLY Term 'bromance' would be perfect here Though this is likely just a result of Monsta listening to the critique and letting characters properly interact with each other as friends without censoring, love that, everybody feels so much more like real friends now, like bumi BBB

Boboiboy's reaction here is so cute.... Found family.... :( Cikgu Papa :( I really should have gone to the cinemas to watch the new PZ movie and fucked my PAT +Boboiboy's model and expression here reminds me of Anna from Frozen, both cute

(Please don't whallop me for the eng subs I just didn't figure out there was malay subs until way later) Love that Boboiboy is allowed to cry and hug his parental figure even as a boy. So happy for this character, even though he is fictional, that he's become a role model for young kids watching BBBGLXS2 now, and to think that I was one of those young kids once

NOOOOOOOOOOOOOOOOOOOOOOOO THE YURI

Go back in time and show this to my IceBlaze obsessed self (not as much as Tauhali) at the age of 7 he would've had a seizure and thrown up WTF we can actually hear Yaya screaming for help on the bigscreen I feel so strange hearing her in pain, boboiboy's storytelling has come so far, love yaya's new voiceactors work btw

WHY DOES TOKTAROKA AND CO SPEAK IN ENGLISH I CANNOT TAKE ANY OF THIS SERIOUSLY

Thought Blaze was holding a drumstick here; was about to scold him for doublecrossing his chicken friends

Ying looks so adorable with her bow, hope she shared her accessories with Yaya later on Btw who the fuck names their smart-saving advertisement character "Along". Will he splash red paint on the kokotaim if Boboiboy doesn't stop buying Nintendo switches

I still like Blaze more than Ice but Ice's eyes stand out so much thanks to the hood's shading, really so beautiful

NO CAP, FANSERVICE

Man I love these guys so much, so so happy Monsta gave Boboiboy and Ying their own moment of being friends, the best, really the best. Also speaking of Ying, I seriously laughed when they showed her injured leg, of course the worst nightmare for a speedster would be that

Hands. Again, 9 year old me, throwing up, dead in a ditch somewhere, what the fuck Monsta,

"Wah, Boboiboy berpantun~" Yeah that's right Fang be impressed by your boyfriend's literary genius Sopan reminds me of school. He's a walking BM karangan. Forget about learning Malay from this show as a kid he's still teaching me frasa menarik for TOHUCOKEP karangan until now. And his gamelan-style music just sounds like the certificate ceremony music.

THAT'S MY WALKING BM KARANGAN RIGHT THERE Shipping agenda aside I love how genuinely excited Boboiboy's friends are for him when he gains a new fusion or fights well with it, I remember feeling so happy watching Sori and seeing everybody cheer for him Boboiboy "So you are also a man of culture" Sopan Aaaaand that's all I have the time for, loved aurafarmer Boboiboy, props to how far Monsta's animation has come. From Api hugging Air's waterball in Bumi in the episode versus Fang to this, genuinely crazy, felt like I was watching game cutscenes. Our animation scene is certainly something to be proud of

[goboymusic]

J. Cole’s “1985” is my favorite diss track (aimed at Lil Pump). Ludacris’s “Bada Boom” is a close 2nd (aimed at Drake).

Rage is the emotion that fueled the first lyrics written after a seven-year musical #hiatus. “Give me that #dopamine, because without it I’m a loaded gun aiming right at me”.

The rest of this post might sound somewhat sarcastic, but I promise it’s 100% heartfelt. Mature, grownup, cheesy mode engage: while the lyrics of “Dopamine” were fueled by anger, and possibly undiagnosed depression, the creative release that came with working on music again after seven years brought about a feeling of euphoria that I hadn’t experienced before. I sobbed during the creation of this song, not out of sadness, but out of the joy of rediscovering creativity (more about the hiatus in posts 23 and 36). The combination of dark lyrics and euphoric feelings was strange.

This emotional release continued throughout songs 40-49. Long, ugly sobs for each of them.

The production quality is rough. I had to relearn how to make things sound good again after the seven-year hiatus, and I didn’t nail it here. I could go back and tweak the mix, but it’s important for my mental health to push forward with new content rather than revise old content. I swiftly turn into a neurotic mess when editing old content.

Those seven years were spent as a cog in the machine that is corporate America. There’s a quote by Henry David Thoreau that says “The mass of men lead lives of quiet desperation.” This rings true to me, as most of our adult lives seem to be geared towards keeping our “superiors” happy over anything else. But hey, it’s better than feudalism.

A bass boost was added to songs 37-101 in Nov, 2021, while I was stuck at home with covid. As a result, this song feels more powerful. The bass boost isn’t a simple plugin nonchalantly added to each song, it was a process that took about 3.5 hours per song, or one whole month to complete all songs. Admittedly, I pushed the bass boost too far for some of them, resulting in too much distortion. The bass in some songs sounds like a freaking earthquake (unnecessarily pronounced low frequencies 20 - 50 Hz). Might dial that back someday. The bass boost was also applied to every song on GoBoy 6 and beyond.

[goboymusic]

Every popular video game has its own internet community of passionate fans. My favorite of these communities is the #SmashBros fanbase. Contagiously passionate and positive. On the opposite side of things, you have #TheLastOfUs fanbase, who is constantly at war with one another over whether or not the sequel was good.

The song #IDontCare is 50% finished, but it was released anyway. First and (hopefully) last time that ever happens.

Like “My Love, The Robot (36),” this song was tossed together in 2012, but at that point I had lost the confidence to upload new music to the internet after the personal disaster that was “Throwback (Song 23),” which you can read about in post 23 (full story on Tumblr).

In late 2019, when getting back into music, I found this old mp3 file titled “I Don’t Care”, but not the original Logic Pro file, thus I was stuck with what I had, a 50% finished electropop song. All in all, it was still catchy enough to be released, so it was bundled up with the other songs on GoBoy 3 and uploaded to the internet.

The vocals that you hear are placeholders and were meant to be re-recorded for the final version. Hands down the roughest vocals in any GoBoy song.

In April, 2021, after realizing that many of GoBoy’s songs dragged on for too long, almost all of GoBoy 3, 4 and 5‘s songs were restructured to be under 3 minutes (preferably under 2:30), including this song. I became okay with releasing songs around the 2 min mark after realizing The Beatles and The Beach Boys had some songs around that length. In an attempt to increase replay value in this streaming era, most of GoBoy’s songs are now purposely around 2:20.

A bass boost was added to songs 37-101 in Nov, 2021, while I was stuck at home with covid. As a result, this song feels more powerful. The bass boost isn’t a simple plugin nonchalantly added to each song, it was a process that took about 3.5 hours per song, or one whole month to complete all songs. Admittedly, I pushed the bass boost too far for some of them, resulting in too much distortion. The bass in some songs sounds like a freaking earthquake (unnecessarily pronounced low frequencies 20 - 50 Hz). Might dial that back someday. The bass boost was also applied to every song on GoBoy 6 and beyond.

[goboymusic]

Finally worked up the courage to watch the horror film #Skinamarink. Is it scary? At times, unbearably so. The film is up for interpretation, but from what I observed, (SPOILERS) it’s a four-year-old child’s perspective of a home intruder wreaking havoc within their family home at night. The concepts of a “home intruder,” sadism, violence, death, etc are so foreign to the child that the events are perceived and depicted in an almost supernatural, indescribable, fractured, and somewhat nonlinear way. The director does an amazing job at making the viewer feel like the child with the use of nostalgic atmospheres and camera angles that make everything look gigantic or tall. Very creative horror film.

”Blue” contains whisper singing, the only style that I had the confidence to do at this point in time as a result of the personal disaster that was “Throwback (23),” which you can read about in post 23 (full story on Tumblr).

The singing style was inspired by “4 AM” by @kaskade. The songwriting and production styles were inspired by MGMT (@whoisMGMT), whom blew up when I was in high school.

The lyrics were written when I was 21. They depict a bright-eyed, new age perspective on finding happiness. My bright-eyed, new age perspective has been obliterated, though my appreciation of happiness remains.

The instruments have a country-esque feel, taking some inspiration from that genre. Maybe this is one of the reasons Spotify’s algorithm considered GoBoy to be a country artist for the first two years of it’s existence (Spotify still thinks GoBoy is a Christian artist for whatever reason).

In April, 2021, after realizing that many of GoBoy’s songs dragged on for too long, almost all of GoBoy 3, 4 and 5‘s songs were restructured to be under 3 minutes (preferably under 2:30), including this song. I became okay with releasing songs around the 2 min mark after realizing The Beatles and The Beach Boys had some songs around that length. In an attempt to increase replay value in this streaming era, most of GoBoy’s songs are now purposely around 2:20 (excerpts from post 37).

A bass boost was added to songs 37-101 in Nov, 2021, while I was stuck at home with covid. As a result, this song feels more powerful. The bass boost isn’t a simple plugin nonchalantly added to each song, it was a process that took about 3.5 hours per song, or one whole month to complete all songs. Admittedly, I pushed the bass boost too far for some of them, resulting in too much distortion. The bass in some songs sounds like a freaking earthquake (unnecessarily pronounced low frequencies 20 - 50 Hz). Might dial that back someday. The bass boost was also applied to every song on GoBoy 6 and beyond (excerpt from post 37).

[goboymusic]

Sleep paralysis (or the #oldhag) is the scariest natural phenomenon that I know of. It’s happened to two people that I know personally, and they both said it was the scariest thing that’s happened to them.

Ever hear an original song within one of your dreams? “Cocoa Lime” is one of those songs. Heard it in a dream, woke up, realized the song didn’t exist in reality, immediately hopped on Logic Pro and programmed it before it was forgotten.

This has happened three times: Cocoa Lime (37), Baby Blue (69), and Seattle (113). For “Cocoa Lime,” the dream provided the melodies and chord structures. I had to figure out the beat and lyrics.

Like “My Love, The Robot (36),” this song remained in my Dropbox for seven years before being released. It was produced in 2012, but at that point I had lost the confidence to upload new music to the internet, a result of the personal disaster that was “Throwback (23),” which you can read about in post 23 (full story on Tumblr).

My youngest sister convinced me to upload songs 36-39 in late 2019. The personal baggage around the act of uploading new music to the internet caused my body to tremble uncontrollably. I know that’s TMI. A bodily stress reaction was interesting (excerpt from post 36).

The original song had a third verse with “new age” spiritual lyrics. I removed it recently because I couldn’t stomach it. “New age” spirituality was an interest of mine at the time of writing this song. Those movements are efficient at improving your optimism, so I don’t dislike them, but their beliefs tend to be based on pseudoscience.

In April, 2021, after realizing that many of GoBoy’s songs dragged on for too long, almost all of GoBoy 3, 4 and 5‘s songs were restructured to be under 3 minutes (preferably under 2:30), including this song. I became okay with releasing songs around the 2 min mark after realizing The Beatles and The Beach Boys had some songs around that length. In an attempt to increase replay value in this streaming era, most of GoBoy’s songs are now purposely around 2:20.

A bass boost was added to songs 37-101 in Nov, 2021, while I was stuck at home with covid. As a result, this song feels more powerful. The bass boost isn’t a simple plugin nonchalantly added to each song, it was a process that took about 3.5 hours per song, or one whole month to complete all songs. Admittedly, I pushed the bass boost too far for some of them, resulting in too much distortion. The bass in some songs sounds like a freaking earthquake (unnecessarily pronounced low frequencies 20 - 50 Hz). Might dial that back someday. The bass boost was also applied to every song on GoBoy 6 and beyond.

[goboymusic]

#CarlPanzram is the closest thing to a real world Heath Ledger-style #Joker that we’ve ever had. An intelligent, criminal agent of chaos.

”My Love, The Robot (36)” was produced in 2012, but remained in my Dropbox for 7 years before being released, a delay that resulted from losing the confidence to upload new music to the internet. That lack of confidence was a result of the personal disaster that was “Throwback (23),” which you can read about in post 23 (full story on Tumblr).

My youngest sister convinced me to upload “My Love, The Robot” in late 2019. The personal baggage around the act of uploading new music to the internet caused my body to tremble uncontrollably. I know that’s TMI. A bodily stress reaction was interesting.

The reception of this song on Facebook is what convinced me to create new music for the first time in 7 years, which ultimately kicked off GoBoy, the musical journey that I’m on now.

During the seven-year hiatus I suffered heartbreak, worked twelve-hour shifts as a machine operator for a few months, renovated an industrial plant for a year, went on two cross country road trips, worked as a sound editor in the film industry in Los Angeles for sixteen months, did one-off experiments with different drugs just to experience them, lived as a traveling nomad out of my car for sheer adventure (one of the funnest periods of my life), became one of those running-fanatics where I ran seven miles per day for a period of time, helped manage a family owned industrial company, hired and fired people, reached a low point where I seriously contemplated suicide for a few months and developed a fool-proof suicide plan, spent three years developing websites / apps that failed to gain traction, and that’s just about it. A mixture of failures and successes, positive experiences and negative.

The song title “My Love, The Robot” was inspired by a short-lived electronic band of the same name that consisted of high school classmates. They blew my fucking mind.

Musically, this song was inspired by MGMT and The Postal Service (the band, not USPS).

Regarding the cause of the hiatus between GoBoy 2 and 3: “Throwback” (and it’s music video) enraged my relatives, whom I grew up in a neighborhood with, and who had tremendous influence over my life at the time (explained in post 23). A frenzy of angry emails, metaphorical pitchforks, torches, hulk rage. Being a young, neurotic kid, the backlash from them was too much for me to handle at the time, and to exit their spotlight, I halted further production of pop songs and ultimately pulled the music video and songs 1-23 (GoBoy 1) from the internet (excerpts from post 23).

To the creative kids who find themselves surrounded by people who want to halt or control their creative endeavors, best of luck. I want to say “find a way out,” but that might result in further deterioration of your creative output. If you were born into an environment where you’re free to explore your creativity without constraints, you’ll never know how lucky you are (excerpts from post 23).

After the “Throwback” debacle, focus would be shifted towards creating instrumental songs that would fly under the radar (GoBoy 2, songs 24-35). Fly under the radar they did. Following GoBoy 2, I quit music for seven years. Songs 1-23 wouldn't be reuploaded until 2020. Why does this matter? It doesn't (excerpts from post 23).

[goboymusic]

Watched the original #Chucky film Child’s Play (1988) for the first time. Crazy that it led to a massively successful media franchise with sequels and merchandise. It’s really entertaining, but I wouldn’t have expected it to blow up the way it did.

Upon release, “Captain Red’s Voyage” was my least favorite song on GoBoy 2, but to my surprise, it has proven to be one of the more popular songs on the album, having the 4th best streams per listener ratio. This has happened a number of times, where a release that I’m not fond of ends up performing well. For example, I didn’t like “In Love (84)” when it was released, but it swiftly became one of GoBoy’s top songs. Inversely, songs that I feel very passionately about often don’t jive with listeners, and fall flat. You never quite know how the audience is going to react.

The dueling guitars at 2:12 were inspired by the original #Pokemon anime that I watched as a child. It has a bright-eyed, youthful, optimistic, “gotta catch ‘em all” vibe.

I really don’t like my vocals in this one, but others don’t seem to mind. I say “code red, grab a weapon of choice” multiple times between 1:39 - 2:12, and it just sounds too amateur to me.

This is a filler track. 12 songs was a self-imposed requirement for GoBoy 2, so “Sexy Lady” and “Captain Red’s Voyage” were quickly tossed together to meet that quantity. That said, both filler songs are pretty good, and they rank well among the others in terms of stream counts, especially “Captain Red’s Voyage” (excerpt from post 34).

For “Dank Sinatra (Song 30),” a synthesizer was tweaked until it sounded like a guitar. The results were so pleasing that the same synth has been used in numerous songs since then, the most recent being “Wayne Henley (123)” Since I can’t actually play this song on guitar, writing the solo was a slow process of programming each note one by one in Logic Pro (excerpt from post 31).

Regarding the change from pop music to mostly instrumental music in GoBoy 2: “Throwback (Song 23)” (and it’s music video) enraged my relatives, whom I grew up in a neighborhood with, and who had tremendous influence over my life at the time (explained in post 23). A frenzy of angry emails, metaphorical pitchforks, torches, hulk rage. Being a young, neurotic kid, the backlash from them was too much for me to handle at the time, and to exit their spotlight, I halted further production of pop songs and ultimately pulled the music video and songs 1-23 (GoBoy 1) from the internet (excerpts from post 23).

To the creative kids who find themselves surrounded by people who want to halt or control their creative endeavors, best of luck. I want to say “find a way out,” but that might result in further deterioration of your creative output. If you were born into an environment where you’re free to explore your creativity without constraints, you’ll never know how lucky you are (excerpts from post 23).

After the “Throwback” debacle, focus would be shifted towards creating instrumental songs that would fly under the radar (GoBoy 2, songs 24-35). Fly under the radar they did. Following GoBoy 2, I quit music for seven years. Songs 1-23 wouldn't be reuploaded until 2020. Why does this matter? It doesn't (excerpts from post 23).

[goboymusic]

I’m releasing vocal tracks of GoBoy songs over the next few weeks. Anyone can use the vocal tracks commercially in their own music without my permission as long as they add GoBoy as a featured artist.

The song title “Leave the Gun, Take the #Cannoli” is taken from one of the most famous lines from The #Godfather (1972 film), a film that everyone should have on their watch list. It’s also the only reason many of us know about cannoli.

This song was an attempt to sing again after dealing with the personal disaster that was "Throwback (Song 23),” which ultimately resulted in a seven-year musical hiatus (more on that in post 23). I was so insecure about my vocals that I added a plug-in that lowered the formant of the vocal tracks in this song, thus making them a little less recognizable.

The chorus was inspired by @Deadmau5, and the verses were inspired by #metalcore music (a genre that consumed my life in high school).

I remember my older sister stumbling upon this song on a burned CD that was left in a family car, and she left me a voicemail afterwards saying something like “is this song made by you? It’s surprisingly good, and you should probably try to sell it,” a compliment that’s uncharacteristic of her. It’s moments like that that confirm I’m not a complete lunatic for producing music, and that I’m actually pretty okay at it.

The chorus of “Leave the Gun, Take the Cannoli” is stellar, but the dubstep breakdown is kinda meh. Inversely, the dubstep breakdown in “Meet Spartacus” is stellar, but the rest of the song is kinda meh. I wish I had combined the dubstep breakdown in “Meet Spartacus” with the chorus in “Leave the Gun, Take the Cannoli” to create a superior song, but that idea wouldn’t arise until years after both songs were released, and after I had lost the Logic Pro files for both of them.

The chorus melodies were eventually reused for "Listen Closely (Song 46).” I always liked the back and forth between the synth melody and vocal melody in the chorus, but always felt they weren't utilized well enough. "Listen Closely" really focuses on those melodies in a way that "Leave the Gun, Take the Cannoli" doesn’t.

At the time of making ”Leave the Gun, Take the Cannoli,” the #metalcore genre was an enormous passion of mine. That said, the politics of forming and maintaining a metalcore band was something that I had experienced in the past, and I didn’t want to experience it again, especially after the fallout from the N3RD live band (explained in post 15). Rather than recruiting a drummer and guitarist for the metalcore inspired breakdowns in “Leave the Gun, Take the Cannoli,” the manipulation of an electronic beat and dubstep wobble bass seemed like a more optimal route, as it would only require computer / DJ equipment for live shows, thus allowing me to maintain independence and creative freedom. This idea of using wobble bass instead of guitars for metalcore-esque breakdowns would be utilized for ”Leave the Gun, Take the Cannoli,” along with other songs on GoBoy 1 and 2 (excerpts from post 18).

The wobble bass was created by automating rapid changes in the formant of a techno synth.

Regarding the change from pop music to mostly instrumental music in GoBoy 2: “Throwback (Song 23)” (and it’s music video) enraged my relatives, whom I grew up in a neighborhood with, and who had tremendous influence over my life at the time (explained in post 23). A frenzy of angry emails, metaphorical pitchforks, torches, hulk rage. Being a young, neurotic kid, the backlash from them was too much for me to handle at the time, and to exit their spotlight, I halted further production of pop songs and ultimately pulled the music video and songs 1-23 (GoBoy 1) from the internet (excerpts from post 23).

To the creative kids who find themselves surrounded by people who want to halt or control their creative endeavors, best of luck. I want to say “find a way out,” but that might result in further deterioration of your creative output. If you were born into an environment where you’re free to explore your creativity without constraints, you’ll never know how lucky you are (excerpts from post 23).

After the “Throwback” debacle, focus would be shifted towards creating instrumental songs that would fly under the radar (GoBoy 2, songs 24-35). Fly under the radar they did. Following GoBoy 2, I quit music for seven years. Songs 1-23 wouldn't be reuploaded until 2020. Why does this matter? It doesn't (excerpts from post 23).