"Tethered" & how it was made.

"tethered" is the 19th song in the yearbook series, track 1 of the "april" ep. towards the end of each song's recording process, I spend about a day playing around with new sounds and ideas to put the finishing touches on the song. the sprinkles on the top of the sundae! when I was wrapping up "birthright," I was playing around with additional sounds and haphazardly laid my hands on the keyboard and played a few random notes. i liked how they sounded and immediately grabbed my iPhone to record the mini idea. that idea became "tethered."

if you've heard my music before, you're probably well aware that I have a soft spot for strings. I incorporate strings into as much of my music as possible. I'm a sucker for them. there's a style of playing called "pizzicato," which is where the strings are plucked on the violin (or viola, cello) rather than played with a bow. I always love how this sounds. it has a sort of romantic sound to me, playful, but earnest at the same time. so I try to toss in pizzicato strings throughout songs when it works. for tethered, I thought this would be the perfect sound for the foundation of the entire song.

being a completely novice (translate: terrible) violin player myself, I decided to take on the challenge of recording these pizzicato strings myself. so that's what you're hearing. it took a long while to play it right, but I am happy with the end result.

after the pizzicato foundation was laid, I played around with piano melodies. it came together quick and I really liked the strange rhythms that fit together in this song. after that, i tackled making the choruses "bigger" (a term that is used almost always in the songwriting process ha) - which lead me to my electric guitar. always fun to dust it off and see if I remember how to play the thing. ;) I enjoyed the thicker electric guitar swells in this. was fun to play. my best mate, dan added a bit of bass, keys and some sparkly bits in the end. i love how it all came together. this is a very, very simple song and I'm pleased that it remains so. it's always tempting to complicate songs, so approaching this song with a simple mindset let it breathe and I'm very pleased with he that works for this.

lyrics... this is a pretty direct, simple and personal love song. a couple years ago, my wife and I were indeed married by the ocean - on the shores of Oahu, Hawaii. and each verse, refers to different aspects of my wife's and my personalities. some examples:

"I'll be warmth when you are shivering cold" - my wife is always cold. always. bundled in blankets as often as possible.

"you be patience when I've had enough of this waiting game" - is a direct reference to me being an impatient person. always in a hurry. is what my family tells me I am. it's true.

the idea for these lyrics are centered around one theme: the game, cats cradle. if you are unfamiliar with the game, read about it here.

it's such a beautiful idea, a game of taking turns making a simple strand of string turn into something more. in my head, that sounded a lot like relationships - a series of taking turns and making something together that is better than what we could have created alone. I also loved the idea that, in this game, we make mistakes to we start over. there is no loser, no winner. just a small team, working together to make something beautiful for the sake of making something beautiful. its fairly obvious, but this concept is what inspired the title "tethered." and the first set up of this image in the song is the lyric:

"we tied string around our fingers to remember our ideals."

when i was scavenging the Internet for visuals of the game for inspiration, I stumbled upon these remarkably beautiful pieces of art by brian mallman:

"String Games (Cat's Cradle" by Brian Mallman
"String Games (Cat's Cradle" by Brian Mallman

so as I wrote this song, those images were certainly imprinted onto my mind.

in february, 2012, the abc show, "grey's anatomy" used this song to close out an episode. privileged to say the least!

thank you for reading! love, ryan

listen:

lyrics:

TETHERED

we were married by the ocean. we were tethered by the sea. we tied string around our fingers to remember our ideals.

i’ll be brave when you are frightened. you’ll be strong when i am weak in the knees. i’ll be calm when you have had enough of these rushing waves. you’ll be the oxygen i need.

we’ll take turns to untangle the knots, though our hands may be tied, it’s all a part of the plot. cat’s cradle etiquette, we oblige, as we learn to enlace for the rest of our lives.

you’ll be balance when i waver. i’ll be warmth when you are shivering cold. you’ll be patience when i’ve had enough of this waiting game. i’ll be the anchor cast below.

we’ll take turns to untangle the knots, though our hands may be tied, it’s all a part of the plot. cat’s cradle etiquette, we oblige, as we learn to enlace for the rest of our lives.

"Birthright" & how it was made.

"birthright" is the 18th song in the yearbook series, track 3 of the "march" ep. early on in the making of yearbook, I asked my friend jon foreman of switchfoot if he'd be up for being a guest on a song at some point throughout the year. being the rad dude that he is, he said he would be up for it. at that time, I had no song in particular in mind, so jon and I just kept in touch for the first several months about it. when the chords and melody for birthright came into view, I knew it felt like the right song to invite jon to be a part of. he and the switchfoot gang were in the studio hard at work making their "vice verses" album, so I had doubts that the timing of my invitation would even be doable... but to my surprise, jon was able to make time to record this and did such a beautiful job.

it wasn't until the lyrical theme of birthright came together that i felt like this song was the perfect fit for jon and I to sing together on. I knew right away that in order to do a "duet" of sorts, the lyric subject matter had to feel right.

i wanted to tell small fables about family - little portraits of brothers and sisters throughout the verses, born into different circumstances. the first line that directed this theme was:

"she was raised by wolves, in the warmth of their fur."

that line definitely paved the path for each of the following verses to play with hard and soft images in just about every line. I enjoyed playing with those contrasts in this song.

to me personally, each "character" in these mini fables represent someone I know. without directly saying who, I can say that each of these mini fables do tell a truth. (hence the end lyric, "our fables tell our truths")

for the general fable imagery, I was inspired by the chronicles of narnia.

the resolve of each of these small stories is in the chorus lyric. it was inspired by a thought that I had a while back - although extremely simple and has probably been said an infinite amount of times before, I believe that pain finds us anywhere. to me that means that all pain is valid, no matter what situation it finds us in - rich, poor, healthy, unhealthy, etc. it doesn't matter, pain finds us anywhere and should need no qualifiers to be considered valid. and out of this pain, we can become stronger and more whole.

"Right or wrong, Tension makes us stronger By making us weak When we needed to be.

Privilege and pain When compared look the same. Comprehension begins When we pull back the lens."

although each verse tells a different fable about different brothers and sisters, I also intended this song to be read as one story about 1 brother and 1 sister, telling their stories from different perspectives. I liked the idea of having multiple dimensions to how this story can be read. and I liked the idea of two very different experiences and how on the surface one looks better than the other, but in reality - the pressures of either life presents similar challenges and hurts.

I really had fun writing in this fairy-tale, fable-like fashion.

musically, this song was also a ton of fun to piece together. Dan Perdue did a beautiful job recording piano (on my fav upright piano ever!), some key patches and bass. Jason Toth did a fantastic job on drums. and of course, Jon Foreman did a truly beautiful job as well. truly blessed to have my friends to be a part of these songs that mean so much to me!

for the guitar, if my memory serves me correctly, I recorded my baby Taylor acoustic guitar on this. could be my martin, but i am pretty sure it's my baby taylor. really pleased with the overall acoustic sound here... mr. John Goodmanson's mix work always makes things sound good and right. (he has magic!)

I am really pleased with how this song turned out from recording, to concept, to getting make music with friends that I love.

thanks for reading, gang!

love, ryan

listen:

lyrics:

BIRTHRIGHT

she was raised by wolves, in the warmth of their fur. surrounded by fangs, she knew that she was secure.

language barriers made no difference at all. when you’re truly cared for, there’s no purpose for walls.

his fences stood tall as the shoulders of old. but he dreamt that one day maybe he’d break the mold.

but time shyly stands still when you watch it unfold. from these ivory towers freedom is only a ghost.

privilege and pain when compared look the same. comprehension begins when we pull back the lens.

right or wrong, tension makes us stronger by making us weak when we needed to be.

they made her their queen on the day she was born. they placed on her a crown she wasn’t ready for.

but all impossible odds foreshadow our means, like paving a road to kingdoms we’ve never seen.

he woke up one day, written out of the will. they swore he'd be okay, with lesser shoes to fill.

“what doesn't kill us makes us stronger,” they say. our only birthright in this life is the breath that we take.

privilege and pain when compared look the same. comprehension begins when we pull back the lens.

right or wrong, tension makes us stronger by making us weak when we needed to be.

our fables tell our truths.

"Outlines" & how it was made.

"outlines" is the 17th song in the yearbook series... track #2 on the "march" ep. when i write songs and prep them for recording, it is most common for me to have a fairly clear picture in mind of the overall shape of the song - the general instrumentation, where each of the sections should land (arrangement), etc. however, with "outlines," I approached the whole process without any clue of what the final picture might look like.

much like the song "wires," "outlines" opens with a melody created within my iPhone, and that's exactly where this song began in the writing process as well. I let that melody loop over and over and just began adding layer after layer of ideas... I started with electric guitar, and discovered a bunch of chords and ideas I liked, which was very helpful in finding the shape of the song.

a day or so adding and subtracting layers, I finally unearthed the overall "outline" (get it?) and heart of the song, which of course led to even more new layers and ideas. then my pal Dan and I explored some ideas on our keyboards and found some nice textures that filled in the cracks. Dan, added bass and did a superb job adding thickness to the song.

it was so much fun hunting for a mix of electronic sounds that played well with more organic "band" ish sounds (ie. drums, pianos, bells, etc) - for a song very much about origins (more on that later) - i liked the idea of natural sounds underneath modern and more electric sounds.

once all of the pieces were laid in place, I invited my good pal, jason toth to play drums. (jason appears all over my "storyboards" album and is a fantastic musician. fact.) his performance definitely gives this song its pulse.. the last minute or two of snare runs is pretty impressively fast - he didn't even pass out while doing takes. a total pro. we had a lot of fun recording him for this, and watching him sweat. ha.

the lyrics came next, as they often do... but in this song's case, I had no vocal melodies in mind just yet. usually, in the lyric-writing process, I will play around with vocal melodies while the song's shape is coming into view. but "outlines" was nearly finished musically before I payed around with any vocal ideas and lyrics.

the lyrics, and the overall concept came together fairly quickly on this one.

I wanted to write a song from Adam's perspective (of the Adam and Eve in the Garden of Eden story) - this theme might be most evident in the lyric:

"garden of eden, lower your branches for another year." 

so I imagined what Adam's thoughts might have been in the aftermath of eating the apple. pleading, reasoning, hoping for and finding something more. the title "outlines" refers to this origin story, as the outline of who we are today. (hence the more organic sounds, mixed with more modern, electric sounds.)

thanks for reading!

much love, ryan

listen:

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lyrics:

OUTLINES

hidden in plain sight, the world is an outline of shapes i used to know.

like pulling ribbon, all of a sudden the curtains draw back slow.

though i’ve been distracted, i am caught up in static no more.

garden of eden, lower your branches for another year.

i’m dust, unsettled until they reappear.

though my hands are prone to trial and error, i’m crossing my fingers for something to hold.

i can’t help but hope for brighter, here in the shadows of letting go.

God, may these good intentions be the outline of so much more.

when i breathe, from now on, i’ll mean it more than ever i did before.

"Pacific" & how it was made.

"pacific" is the 16th "yearbook" song, track 1 of the "march" ep.

i wrote this piece of music about a month or two before yearbook began... around that time, i saw a film called "the secret of kells" - an irish animated film, which was nominated for an oscar in 2010 for "best animation." i absolutely loved it. it's beautiful, haunting and inspiring. so, immediately after seeing it, i scoured the internet to find anything i could about who made this film and when and where can i see more. i found that it was directed by a gentleman by the name of tomm moore, who created "cartoon saloon" in ireland, a fantastic animation studio. i stumbled upon a "conceptual" trailer for tomm's next film, "song of the sea" and i was awe-struck. it was some of the most beautiful animation i have ever seen...

being someone filled with hopes of scoring films one day, i thought it might be a lot of fun to try my hand at writing music for this conceptual trailer. it already had lovely music in the trailer online (as heard in the trailer above), so there was no intention of "replacing" anything - it was just such a beautiful trailer that i felt inspired to write something to it, and i thought why not try my hand at "scoring" it for my own amusement.

(note: to hear "pacific" paired with the trailer, hit the mute button on the concept trailer, press play on both videos above)

so i sat down at my piano, with the trailer running on loop through my ipad. a day or so later, "pacific" was the result. i was really pleased with how it turned out, so (again, totally something i've never done) i wrote to tomm moore via twitter and asked if i could send him this little piece of music i wrote, inspired by "song of the sea." to my surprise, he replied and welcomed me sending it over. he responded incredibly kindly and it just about made me year to hear it.

"song of the sea" has yet to be released, and i believe (having had the pleasure of keeping in touch with mr. moore over the last couple years) it appears to still be in the production phase. i cannot be more excited to see this film though.. seriously, how gorgeous is that trailer?! although my music has nothing officially to do with it, i have watched this concept trailer probably a thousand times and i just think it's going to be a masterpiece.

so when i wrote this (right before "yearbook" began) i knew that i wanted to include this piece of music on one of the yearbok eps... but i held onto it until the right month came along.

"march" felt perfect for "pacific" for a few reasons:

 

  • something about the spring coming into view, makes me dream of the ocean. 
  • my family and i have had the incredible privilege of visiting hawaii many, many times and it always seems to be around this time. so i've enjoyed the pacific ocean in march many times throughout my life.
  • i got married in hawaii and the wedding was in march! so "pacific" was a perfect fit for the "march" ep.

 

originally this song was the exact length of the concept trailer - about a minute long. but when putting it together for the ep, i wanted to extend it. which created a unique problem -

most songs on yearbook, i recorded my piano a certain way that i like. i leave the mics set up and when i record my piano, i have the assurance of knowing it will sound like it did before, exactly as i like it. for "pacific" however, i recorded it a bit differently... i recorded the main piano with a small recorder, but i couldn't remember where the recorded was sitting when i originally recorded this piece of music. so in order to keep the performance of the original recording (which i very much intended to do) i had to figure out a way to add the new extension without it sounding like i started recording a totally different piano sound. so after several tests and trial and errors to figure out how i got the piano sound i originally recorded - i finally found a match, and continued on with the extended arrangement.

because the pianos were recorded with a small hand-held recorder, there were all sorts of background noises (a few coughs in the other room and tv chatter) - again, i had to decide whether or not to keep my original performance, or start over... but being the stubborn person that i am, i went with keeping the original at any cost!

i sent the piano track to my pal, jason ward at chicago mastering (the very same amazing team who mastered every yearbook ep! if you're ever looking for mastering work, use them! amazing.) and asked if he had any magic abilities to clean up the background noises and hums and coughs and whatever... and he did an insanely good job. sent it back and it sounded perfect. so my stubbornness paid off.

a long, long while ago my brother and sister-in-law bought me a violin as a gift. i adore it and play it often, however it is by far the most challenging musical instrument i have ever touched. and it sounds that way too when i practice. on this song (and many more throughout yearbook actually) i wanted to give it a shot and record some violin parts the best i can. usually i will write the arrangement and have skilled string players play it. but for this song and most others that i actually played the strings on, i just do lots of takes of misc. i'm pretty pleased with how it turned out - it has character. wonky character maybe, but character nonetheless.

added a bunch of other subtle layers throughout and really had fun putting this one together. it's the second instrumental song in the yearbook series, so it was nice to give my voice a break and dive into a film-scoring type of mindset here.

thanks for reading!

much love, ryan

"Learning Curve" & how it was made.

"learning curve" is the 15th "yearbook" song, the final track of the "february" ep.

for many, many years I have admired songs that are made up (musically) of only one "part." just always fascinated by artists that are able to write just as moving a song as any, without the need to write more parts than one. it's obviously rather easy to write a song with one "part" ... and more often than not, that kind of song would sound lazy or uninspired. but the trick is to write a song without the need for other parts, where listeners are pulled into the song, the vocal melody, the lyric, the story without ever realizing that the music was just a simple, repeating backdrop. so having always been interested in the craft of writing such a song - this challenge, this idea inspired "learning curve."

as a matter of fact, I've waited and hoped to explore writing a song in this way for many years, but until the chords for this song appeared, I never felt like I quite had the right foundation to build such a song. so when i wrote this simple chord structure, and played around with different vocal melody ideas, I was so excited to realize that the mood of the song hung very intently on where my vocal melody went - it could change the whole shape of the song, which lead me to this humble attempt at writing a simple, "one part" song.

this song was originally written on the ukulele... then it changed keys a few times and moved onto the acoustic guitar... then even more key changes later, it found its home on the electric guitar. fun side note: I recorded all of the electric guitar on this song (and most other yearbook songs actually) on my very first ever guitar amp- a "crate" 1×10" combo amp that my parents gave it to me as a christmas gift, when I was 14, along with my very first guitar - an "epi" (the introduction brand of epiphone, which is the introduction brand of gibson) black "strat". anyway, that amp has actually become one of my very favorite amps ever this past year or so... who knew! so it makes me very happy to have that piece of nostalgia woven into these songs. it's got this built-in reverb that I sure do love.

my best pal dan recorded piano throughout - we worked hard at making the piano arrangement give definition between the verses and choruses. it was fun using the full range of the piano to make this happen - high octave lulluby type of sounds, with very low, heavy chords in the choruses. we added bits and pieces of mellotron and other synths to give even more texture to the choruses.

for the vocal, i took the microphone out of the "sound-proofed" vocal booth i built, and set it up into an open non-sound-proofed room. i wanted a short slap-back-ish type of room reverb.. and i was very happy with how it turned out. a bit different vocal tone than most sleeping at last songs so far.

for the vocal once I decided that this was going to be my "one part" song, I knew that this needed to tell a story. I also knew that the words needed to be very visual...

at the time of writing this song, my wife and I had begun house hunting a bit. so words like "hard-wood floors" and "white picket fence" were being used quite a bit, and that felt like a very appropriate element and vocabulary to weave into this story. so i went with it.

i wanted to tell the story in the form of waking up from a dream. a dream about living a life of simple and true ideals that, unlike most ideals, do not require a perfect world in order to be achieved. a life that is strong enough to find happiness in uncertain and imperfect conditions.

along with the stress of house hunting, life transitions, sorting out finances and adult things like that, i wrote this song as a bit of a reminder to me of those pure and true ideals, and how important they are to chase after. so this song is me, standing at the threshold of many complicated life decisions, drawing a sketch, an outline of sorts, of how i hope everything might turn out. even in it's short life as a song..this "dream" of mine is meaning more and more to me throughout the new chapters that 2012 has been bringing my way.

the last line of the song:

"and when my good dream came to an end,
i woke up more than ready to bend."

... i wanted some sort of happy ending to this story - since the song is a retelling of a dream about ideals and strength, i felt it would be sad to leave it there as only a dream... so i added this last line, which to me means that the dream was a lesson that will lead to living out those ideals in real life. my definition of the word "bend" in this line is to have faith, to be strong and balanced enough to live happily in a world that cares very little for our comfort.

thanks for reading!

love, ryan

lyrics:

LEARNING CURVE

i had a good dream-
we built a home.
it was far from perfect,
but we made it our own.

we lived a good life,
we gave and we borrowed.
it was far from perfect,
but we made it our own.

when everything around us changed, we felt okay.
no learning curve could ever bend us too far out of shape.

when we took one step forward, and five steps behind,
we were still more than able to walk a straight line.

we had a white picket fence in the front yard,
where our grass was plenty green.
every window in our house
welcomed in the sun’s company.

we had hardwood floors and unlocked doors,
our glass was plenty full.
though our bills were only barely met,
our hearts were plenty whole.

when everything around us changed, we felt okay.
no learning curve could ever bend us too far out of shape.
when darkness was the price of light, we weren’t afraid.
for the time we’ve spent was more than worth
any interest that we’ve paid.

we lived a good life, a good life,
when my eyes were closed.
though the question marks were all the same
and the burdens never left,
we gambled everything we loved,
as though there was some kind of safety net.

when everything around us changed, we felt okay.
no learning curve could ever bend us too far out of shape.
when darkness was the price of light, we weren’t afraid.
for the time we’ve spent was more than worth
any interest that we’ve paid.

and when my good dream
came to an end,
i woke up more than ready to bend.