If You Like Grimes…

Carol White Blush Tom Tom Magazine Beatmaker

You might like White Blush. It’s dark and dreamy and when we heard it we loved it. We asked the songstress, Carol, how and why she makes her music and here is the lowdown in her own words:

I started making music out of necessity I think. Making movies takes too long, and I had a lot on my mind.  I bought an MC-Roland 808 from this guy for $500.  It was cute, he was showing me how to sing karaoke over these really cheesy techno presets. But it probably took another year for me to actually read the manual. I use Garageband to record my vocals, sometimes this Casiotone 101 for synth melodies.  I don’t have a lot of tools.  People are always telling me I’m limiting myself, but I actually have a lot more freedom b/c I have less choices to make, or least ones that are more creative than purely technical.  I don’t need a wall of sound to feel an emotion either, usually I just need an emotion, and the melodies write themselves.  I’d been in bands before, but they were more like ‘rock-out,’ and I kind of hate rock bands.  So the songs on the EP are pretty personal to me, I can hardly imagine singing them in public either.  My brother once joked that it’s music for depressed people, and depressed people don’t really go to shows b/c they’re depressed. They’d rather sit at home and lock themselves in a room. That’s what I do at least, and so why would I expect any different from anyone else who was into it? I like the minimalist approach to things, finding the least amount of tools to convey the greatest amount of emotion. Beyond singing, I wanted the instruments to feel raw and cutting, more visceral, more like real machinery, and I like that a lot. The repetitious drum and synth loops wore down on me a lot, but after awhile, they begin to have their own essence that I began to respect, as weird as that sounds. I just gave up trying to make it sound ‘organic,’ because it’s not, the process is very tedious and mechanical, and I wanted to show that.

– Words by Carol Rhyu

 

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