10 Sept 2017

Why (Album)

Production began April 7th, 2017, ended June 24th, 2017 and the album was released on the 25th June, 2017. The album was produced by Efe-Keeyz. And for convenience, the production was split into two; the first four songs were produced first, then the rest.

WHY: This became the album's title because of the image. I’ve had the picture for a while before production and it seemed fit for Why. Though I’d wished for one of the EDM to be the album’s title, I didn’t have any recent picture that would fit; also I chose to be economical so no photo shoot, or I was just being lazy.

Why was composed through 2013 to 2014; and got extra lines added to the rap during production. I’d wanted an off-pitch song of my own, one I could use to rehearse and work my voice, that’s how Why was born. The chorus and bridge were composed first sometimes in 2013. I thought I’d add verses later. But after many months I ended up adding rap lines. It took me many months to be able to hold the chorus and bridge; and the arrangement was slightly different from what we eventually resulted to for production.

SHINE: This was composed sometime in 2014. I wanted another hopeful and optimistic song like I Can Achieve Great Feat; and I think I like them as Dance. When I was set, I felt Caribbean and Calypso and worked it so. But it’s quite funny that during its production, I forgot the genre Calypso and my producer was lost on Caribbean. Hence, we got stuck. I later recollected and we were also assisted by a friend of his - Soji (Tall) who gave some chord progressions. The lead backup vocal was done by Halleluya - Efe-Keeyz’s sister - I wanted a ‘young’ voice.

MUSIC GO HIGH: This is an old composition too that never made it to production for a long time; it was composed late 2013 alongside Let’s Rock It, and with similar ideology - excitement.

REALLY: Oh, time for crazy to go on display. I wanted to repeat You’ve Gone Wild but with another theme. So, on Jan. 6th, 2017 I gave it a shot and got this; I edited it again in January - 11th. For the story line, I added little perspective from my relationship. During production a third verse was required by my producer. And a part of the bridge was scrapped and called with an instrument.
However, I wouldn’t want anyone to think that my metals or hard rock will always be on the high; I already have a low - warming up. 

SHAKE: The idea behind this was same as with Let’s Rock It, and was written about the same time - days apart in 2013. It was about composing “something different from my usual, something relaxing, exciting, neutral, and something simple - not complexly worded” - http://rebekahflora.com/2016/05/lets-rock-it-ep.html
THIS LAND OF MAGIC (ACOUSTIC): This’ a remix of same from an upbeat to a slow tempo. We initially made it ballad but was changed to rock by my producer; he sent me the rock to listen to and I loved it - I rock. I wanted a slow tempo because of the lyrics. I felt it would be well felt this way, and I feel it! And there was a need for a second verse, which I composed during production.

But Odion (my brother) likes the Techno more. He said, “…this land of magic (acoustic) is also great…! (but the original is way better). I still play the original from time to time…when I’m on Soundcloud. Maybe after a while my preference may change, but I doubt it…”

MOVING: This was composed between 5th and 9th January, 2017 as another New-Age, though embodied with rock; still it has a similar theme to Hush - abstractive. It was during production I became aware of the vocal variance between the chorus and the verse, and the bridge; this came to the surface when the beat was being built. I asked my producer to skip it while I’ll look into it. And while doing that at home, I noticed the variance. This turned out to be a breakthrough of knowledge for me vocal-wise. I finally found out why I sing distortedly sometimes - I get different voice types mixed up carelessly. Hence with the knowledge, it became easy to coordinate the arrangement of the song. So, we moved. However, I could still have maintained one voice type, but then I won’t achieve the planned embodiment.

FREE: Ah, the battle of my bass to live by refusing to be killed. This was composed May 16th, 2016. I wanted another like Oblivion, but not peaked; just contained within the lower register. While composing, I thought I was going for another Hush. Then I got to the bridge and realized it was a slow-rock. However, it’s a New-Age embodied in rock to me. And I think the theme subtly followed the struggle of my lower register though not composed for it; rather it’s just worked around the spiritual - New-Age. To me, New-Age is synonymous with the spiritual - the spiritual being conveyed in a secular way, Life being sung with or without the interjection of God and with a veiled depth. This can be embodied with any genre; and I’m thinking I might do it with metal someday. And I’m aware this thus doesn’t portray New-Age as a genre but a classification.


Updated - 28th November, 2021: “And there was a need for a second verse, which I composed during production.” – added to This Land of Magic (Acoustic) paragraph.