Ep. 123: Favorite Music of 2023 – Top Ten Albums

So here we are. 2023 is ending and that means it’s time to share my favorite albums of the year. This completes my 8th year of doing this podcast and these end of the year wraps up are some of my favorite episodes to put together so I hope you enjoy it too. 

But before I jump into my top ten list, let me share my honorable mentions. These are albums I listened to and enjoyed but for one reason or another, didn’t quite make the top ten album list for me:

Honorable Mentions:

  • Philip Selway – Strange Dance
  • Chris Staples – Cloud Souvenirs
  • Blur – The Ballad of Darren
  • Beirut – Hadsel
  • The Arcs – Electrophonic Chronic
  • Noel Gallagher’s High Flying Birds – Council Skies
  • Boygenius – The Record
  • Foo Fighters – But Here We Are
  • The Milk Carton Kids – I Only See the Moon
  • Mitski – The Land Is Inhospitable and So Are We

So, with that said, let’s jump in and count down my top ten albums of the year.

10: Andy Shauf – Norm

This Saskatchewan singer/songwriter is back with his 8th album and it’s among his best work. As usual the songwriting is solid. The lyrics are told from the perspective of a cast of different characters. Andy’s voice is soft and smooth, fitting the relaxing production well. He plays all the instruments himself, which include guitar, bass, drums, piano, synths, and clarinet. The vibe stays pretty mellow most of the record, which sounds influenced by 1970s soft rock. Paul Simon comes to mind. But even so, he throws in enough variety with the melodies and arrangements to keep things interesting.    

Essentials: Wasted On You, Telephone, Sunset

9: Wye Oak – Every Day Like the Last

This Maryland based duo has released six studio albums of the years, starting with their 2007 debut. This one is actually a compilation of singles released since 2019, as well as three new songs. As usual, the songwriting is fantastic. I love the choices with the melodies. Jenn Wasner’s voice is one of the prettiest I’ve heard in recent years. At times it reminds me of Sarah McLachlan. The arrangements are soft but often intricate with off-beats rhythms, string arrangements, and atmospheric touches. It’s a fantastic collection from start to finish.

Essentials: Its Way With Me, TNT, Every Day Like the Last

8: Inhaler – Cuts & Bruises

This is an Irish rock band whose singer, Elijah Hewson, is the son of U2’s Bono. Now I’ll admit, I was skeptical and listened just out of curiosity, thinking he might be just riding the coattails of his father, but I was pleasantly surprised! They’ve carved out a sound of their own and it’s very catchy stuff. It’s got great songwriting hooks, fun beats, and smart modern production choices. At times, it reminds me a little bit of Muse or brit-pop bands like Oasis or Travis. They do a good job at varying the sound to keep it interesting. This is their sophomore album and they sound like a band that’s really gelled and honed in their sound. It’s a fun album that I’ve really enjoyed.

Essentials: Love Will Get You There, These Are The Days, Just To Keep You Satisfied

7: Chris Stapleton – Higher

This Nashville-based singer/songwriter is back with his 5th album and as usual, he keeps his standards high. The songwriting is rock solid, with great melodies and clever lyrics. The production is a blend of roosty-southern rock, blues, and country, which is a sound he’s carved out as his own over the years. But what really ties everything together is his raspy, soulful voice. I love hearing the moments when he really belts it out. It’s a great album from start to finish and among his best work.   

Essentials: South Dakota, What Am I Gonna Do, Trust

6: Meija – Do Ya?

This artist is a new discovery for me this year. It’s the project of Jaime Sierota, who is the guitar player for the band Echosmith, who you might know from the song “Cool Kids.” In the last few years, he’s released a couple of solo EPs but this is his first full-length album and I gotta say, I’m impressed. The songwriting is super catchy: great melodies and deep lyrics. The production style borrows from a modern, indie take on the Beatles, similar in vein to Dr. Dog. He incorporates a lot of old analogue machines, giving it a warm and occasionally lofi sound, especially with the drums and pianos. Lots of great arrangement choices. It’s a very unique and rewarding listen and one that I keep coming back to.

Essentials: No More Excuses, Not Sure How This Ends, How You Like  

5: Wilco – Cousin

I’ve been a fan of Wilco for many years. They’ve made some of my all time favorite music but I’ll admit, I’ve had a harder time getting into their last 3 or 4 albums. I feel like they sort of shifted their focus to centering on a certain vibe or mood while their songwriting has gotten weaker. But this year, they’re back with their thirteenth album and I love it. I feel like they’ve continued in somewhat of an experimental vein like before but they raised the level of the songwriting with more accessible melodies and lyrics. Some of the credit may go to the direction of their producer, Cate Le Bon, who is the first outside producer they’ve worked with in 14 years. The record has the trademark twists and turns we’ve come to expect from Wilco albums, with interesting arrangements and sounds. It takes repeated listens for the songs to really sink in but it ultimately rewards the listener. If you’re a fan of their masterpiece, Yankee Hotel Foxtrot, you’ll love this album.

Essentials: Levee, Infinite Surprise, Meant To Be 

4: Jason Isbell and the 400 Unit – Weathervanes

This is the 9th album from this critically acclaimed singer/songwriter from Tennessee. He’s joined by his backing band, the 400 Unit and they’ve created yet another great, solid album. His songwriting is as strong and pointed as ever, balancing the struggles and inner demons of the downtrodden with the simple joys in life. The arrangements are strong, with his band sounding more gelled than ever. Some great lead guitar parts and I love his raspy, soulful voice, which ties everything together. All and all, it’s a fantastic album from one of the songwriting greats of his generation. 

Essentials: Middle of The Morning, Strawberry Woman, Death Wish

3: Paramore – This Is Why

This is the sixth album from this rock band from Franklin, Tennessee. I’ll admit, I’ve sort of watched Paramore from a distance and I’ve always thought of them as a good band but this album really surprised me. This is their longest gap between records, at six years since 2017’s 80s influenced album, After Laughter. During that gap, singer Hayley Williams also released two solo albums. But when they got back together to record this album, they took the opportunity to revamp their sound in a very cool way. They took inspiration from dancey, post-punk sounds from bands like Bloc Party or even Talking Heads. It’s energetic and fun, but also with a layer of complexity and maturity. I especially love the drumming. The songwriting is also really interesting and it’s all held together with Hayley’s great vocal performance. They never let the music get boring on this album.

Essentials: This Is Why, The News, Running Out of Time 

2: Gorillaz – Cracker Island

This has been quite a year for Damon Albarn. Not only did he reunite with Blur and release their excellent 9th album, The Ballad of Darren, he also found time to release a new Gorillaz album. This is his 8th record with this project. This time he enlisted the help of super-producer Greg Kurstin, who’s worked with such artists as Adele, Foo Fighters, Paul McCartney, Sia, and Beck. Together they wrote and produced each track and invited a string of high profile collaborators to join them, including Stevie Nicks, Tame Impala, Bad Bunny, and Thundercat. I have to say, the results are pretty amazing! The songs are very catchy. They have great melodies and really fun production. They follow the trademark sound that Gorillaz have become known for, yet there’s still enough variety to keep things interesting. It’s a fantastic record from start to finish.

Essentials: The Tired Influencer, Oil, New Gold  

1: Caroline Rose – The Art of Forgetting

This artist is a new discovery for me this year. This is the 5th album from this Austin, Texas based singer/songwriter and I think it’s her best. Her musical style has shifted with each album, from vintage alt-country to 80s dance pop. In this latest album, she shifts yet again to more of a blended genre, experimental indie rock sound. She has a beautifully angelic, yet powerful voice. The production is very ambitious with lots of cool, unique touches and interesting rhythms. But it also sounds very big and spacious, especially with the drum sound. The songs are interspersed with a series of recorded phone messages from her late-grandma which culminates in a recorded conversion with the two of them at the end of the album. The songwriting is incredible! The lyrics are very emotional and powerful, which focus on getting through a deep depression and loss of a family member. Yet, the melodies are very catchy and unique. Listening to this record is like going on a rewarding journey and I’ve enjoyed it so much that I’ve come back to it several times this year.

Essentials: Everywhere I Go I Bring The Rain, Where Do I Go From Here?, Love / Lover / Friend


That’s our show. I’ve made Spotify playlists for these songs and more of my favorite music of the year.

I’d love to hear what your favorite albums for 2023 were. Go to my Facebook group for Making Music with Jake Haws and leave a comment so I can check them out.

Also, for listeners of this podcast, my production company, Arches Audio is offering 10% off your purchase to license songs from our music library, as well as any services, including audio editing, artwork, and a course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

Stay tuned for more episodes in 2024. We’ll see you next time.

Ep. 121: Song “Coming Around” (Influenced by Low)

In this episode, I break apart a song called, “Coming Around.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by the band Low. My favorite song of theirs is “In Metal,” from their 2001 album, Things We Lost In The Fire. I love the different elements they chose for the arrangement, which really add to the atmosphere and give it that feeling of longing. Sadly, the singer of this song, Mimi Parker passed away last year after battling cancer. I was lucky to see them perform a few times and it was always a transcendent experience. She will be greatly missed.

To start with the recording, I laid down the acoustic guitar. I adjusted the EQ and reverb to give it a lofi sound. To fill things out, I added this mellow organ part.

Next a really simple piano part playing mostly the bass notes.

I also added two e-bow guitar parts for some additional texture. 

I tried a few different things with the percussion and finally landed on stripping it back to something really sparse: just an egg shaker and a ride cymbal played with brushes toward the end.

The final touch was adding some ambient outdoor noises. For that, I just went to my backyard. At the beginning of the song, you can hear a few steps with some traffic in the background. I wanted to give the feeling of introspection and hope, like someone leaving their home and finally ready to face the world.  

The lyrics for this song are about my hesitation to be vulnerable. I’ve kept a lot of my problems to myself for a long time because I didn’t want to burden anyone. Over time, it built up and felt like too much to handle. Eventually I realized I needed to get help so I decided it was time to get therapy and start opening up. I’ve had to come around to the idea of therapy (hence the title of the song), but that decision has helped set me on a better course. There’s strength to admitting you need help. We’re not meant to do this life alone.

And with that, here’s the complete song. I hope you like it.

And that’s our episode . If you’re interested, I made a music video for this song, which you can find on YouTube or in the description.

Also, This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until July 2nd, using the promo code “songoftheweek” at checkout. Find it at archesaudio.com.

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time.

Ep. 120: Song “Wait for It” (Influenced by Ryan Adams)

In this episode, I break apart a song called, “Wait For It.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by Ryan Adams. He’s done a ton of great songs throughout his career, but one of my favorites is “Kindness” from his 2011 album, Ashes & Fire. I like the relaxed pace and how all the different sounds blend together. 

To start with the recording, I laid down the acoustic guitar. Next, I recorded the drum part, which uses brushes and plays a syncopated rhythm. Next, I added a mandolin which plays a part similar to the acoustic guitar. Then an organ to fill things out a little more.

So with the basic core of the song done, I started thinking about what I should do with the lead parts. I wanted the song to build as it went along. So after the first chorus, a soft piano melody comes in and adds something new.

Then after the second chorus, a subtle electric guitar solo comes in, with a lot of reverb and delay effect on it. I was going for, kind of, a U2 vibe. 

The lyrics for this song are about learning to be patient with your own progress and kind to yourself. Change is a process that takes time. It doesn’t happen overnight. As I’ve worked on strengthening the spiritual side of my life, it’s given me peace and helped give perspective to my problems.

And with that, here’s the complete song. I hope you like it.

And that’s our episode . If you’re interested, I made a music video for this song, which you can find on YouTube or in the description.

Also, This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until June 25, using the promo code “songoftheweek” at checkout. Find it at archesaudio.com

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time

Ep. 119: Song “Someone Else” (Influenced by Elliott Smith)

In this episode, I break apart a song called, “Someone Else.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by Elliott Smith, particularly his song “The Biggest Lie” from his 1995 self-titled album. I like the picking pattern and sparse style of the production, along with the melancholy lyrics.

To start with the recording, I laid down the acoustic guitar.

Next I added some subtle synth string parts to fill things about a bit.

For the solo, I decided to use a soft echoey piano. I think i adds a bit to the lonely atmosphere. 

At this point, I felt like it still needed something. I was listening to the Fleet Foxes song, “Can I Believe” and really liked the choir arrangement they included with their song. I felt like it gave the recording a lot of character.

So I recorded this 3-part harmony, which follows the same notes as the string arrangement from earlier. I doubled each part so they’d be 6 voices and did all the same parts but an octave higher, so there’s 12 voices. Then I drenched it in a cathedral style reverb. I ended up using this choir part as an intro, similar to the way the Fleet Foxes do in their song.

The lyrics for this song are about feeling stuck in life and longing for things to be different. At times, I get overwhelmed and frustrated with everything happening and wish I could just start over. But while caught in the struggle, you learn to get through the hopeless moments by talking it through with people you trust. 

In terms of the progression of the album, this opens up the last three songs, which focus on healing and coming to terms with myself.

And with that, here’s the complete song. I hope you like it.

And that’s our episode . If you’re interested, I made a music video for this song, which you can find on YouTube or in the description.

Also, This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until June 18, using the promo code “songoftheweek” at checkout. Find it at archesaudio.com.

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time.

Ep. 118: Song “End Of My Rope” (Influenced By Spoon)

In this episode, I break apart a song called, “End Of My Rope.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by Spoon, particularly their song “Got Nuffin” from their 2010 album, Transference. I like how the song has a really steady beat with minimal chord changes, but with bursts of chaos happening around it. I also like that there’s a bit of tension and darkness to the mood of the song, so I tried to incorporate some of those elements into my song.

Here’s a clip of the original voice memo I recorded as I was writing the song. I’m improvising the lyrics and melody, so forgive me that it’s a little shaky:

To start with the recording, I laid down some very basic rhythm guitars. There’s an acoustic and an 2 electrics, which play the same parts, which is a super simple eighth note strumming. It’s literally two chords over and over for the entire song, A minor and A major.

For the drums, I found a loop I liked from the Circles Drum Library. For the heavy parts I added open hats to give it a louder, punchier sound.

Next a super simple bass line. It’s basically the same two notes over and over again. But I think it works because it plays off the kick drum rhythm. It also has some holes, in the sense that it only plays a couple notes and then rests for a few beats, over and over. These moments of rest give it a little bit of groove and counter the steady eighth notes of the guitars.

With all the basic steady parts taken care of, I did two takes of a lead guitar part, with the intention of keeping whichever one turned out better. I ended up liking elements of both of them, so I ended up keeping them both and panning them all the way to the right and left speakers. They actually ended up complementing each other really well and at times, they do kind of a call and response thing, which was completely by accident. 

The finishing touch was using my Korg Kaossilator, which is a noise pad synthesizer you play by moving your fingers across the surface. It’s pretty fun to play and added a little more chaos and weirdness to the song.

For the sound of the vocals, I added a thick distortion and delay effect which pushes harder during the refrain parts.

Lyrically, this one is about feeling intense moments of depression and anxiety. In these dark moments, it feels like everything is collapsing in, that the world is out to get you and there’s no end in sight. The line about “a rabbit in the headlights” is a nod to the Thom Yorke song, which had similar themes. 

Something kind of unique I did with this song was try to make the production match the lyrics. The simple two-chord progression and steady beat are at odds with the very chaotic, noisy lead guitar parts that dual with each other. The intention is to simulate the intense chaos going on in a person’s head on top of the repetitive monotony of day-to-day life. The words and sound represent a breaking point.

And that’s our episode . If you’re interested, I made a music video for this song, which you can find on YouTube or in the description.

Also, This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until June 11th, using the promo code “songoftheweek” at checkout. Find it at archesaudio.com or click the link in the description. 

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

Ep. 117: Song “I’m So Sorry That I Didn’t Understand” (Influenced By Bob Dylan)

This song is a homage to Bob Dylan, particularly his songwriting style for many of his songs where there isn’t really a chorus, just a line repeated at the end of verse which happens to be the song title. A good example of this is in his 1975 song, “Tangled Up In Blue.”

To start with the recording, I laid down the acoustic guitar by itself.

I knew from the start I wanted to include a harmonica. I’ve never actually put one in any of my songs, so it was a little bit of an experiment. I actually had to go out and buy one and make sure it was in the right key of the song. I took a little time to learn the basics of playing and then went for it. Here’s how it sounds.

The percussion for this recording builds as the song progresses. The first element is a kick and tambourine part that comes in on the second verse. After the second verse ends, I bring in a snare drum with brushes playing a Johnny Cash style beat, which I like to call a train beat because it has a kind of chugging sound.Then when we get to the bridge, I bring in the handclaps to complete the hoe down.

To fill things a bit more, I added an organ. I also added in a simple electric guitar part to give it a little more fullness and energy.

The vocals have a heavy slap-style reverb similar to Johnny Cash or Elvis.

The lyrics of this song are about a friend of mine who recently went through a divorce. It’s about looking back at the situation with regret and wishing you had done things differently; wishing that you have communicated more clearly and been more empathetic.

Here’s the music video for the song:

This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until June 4th using the promo code “songoftheweek” at checkout. Find it at: https://archesaudio.com/shop/royalty-free-music/im-so-sorry-folk-rock/

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time.

Ep. 116: Song “Heaven Help Us” (Influenced by The War On Drugs)

In this episode, I break apart a song called, “Heaven Help Us.” This comes from my album Starting Over released back in August of 2022.

Originally, I thought of the song as more a sparse folk ditty. The chord structure is super simple. Most of only one chord: C9. And in the chorus, I add a second chord. So with the simplicity of a song, I need to make the production a little more interesting. As It came time to record, I started thinking about the song, “Red Eyes” by The War on Drugs.

Their song also has a pretty simple chord progression for most of the song but they keep it moving with a steady beat and plenty of atmosphere elements, which tend to borrow from the heartland rock of the 1980s, like Bruce Springsteen and John Mellencamp. So, I tried to keep some of those elements in mind when I produced my song.

First, I chose this drum loop from the Circles Drum library and added a few extra snare and cymbal hits. It was labeled “Petty” which I assume is a reference to Tom Petty. To me, it’s a little bit like the drum sound on “Running Down A Dream.”

With the beat squared away I laid down acoustic and electric guitars for the rhythm part.

I added another guitar with distortion to give the chorus a little bit of an explosion of energy.

Next I added a lead guitar part played with an Ebow, which is a little device that makes guitar strings vibrate without actually touching them, giving it a sound a little bit similar to a violin or cello. Here’s what it sounds like.

Next, I added a simple retro-sounding synth part to fill out the choruses and double up some of the lead lines.

For the vocal production, there I added on a heavy slap-back style reverb to add to the atmosphere.

The lyrics from this song are based on a personal experience. My family recently went on a hike in southern Utah, where we underestimated our timing and ended up having to walk in the pitch dark for a few hours along steep terrain with just the light from our cell phones. We made it back fine but there was this fear in my head the whole time that we would get lost. I made the situation worse in my head, which led to some intense prayers. And so, the worst-case, “lost in the desert” scenario became the basis for this song. It’s also a religious metaphor for our time on earth and our reliance on God to return home.

And with that, here’s the complete song. I hope you like it.

This song is available to license for your projects like podcasts and videos. Get 50% off your purchase until April 23. Use promo code “makingmusic” at checkout. Find it at archesaudio. 

Also, for listeners of this podcast, Arches Audio is offering an additional 10% off your purchase of this and other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time.

Ep. 115: Song “Feeling Like A Ghost” (Influenced by The Shins)

In this episode, I break apart a song called, “Feeling Like A Ghost.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by the band, The Shins, particularly their song “Pink Bullets.”

I like the imagery of the lyrics, along with the sparse, haunting production. So I tried to keep some of those things in mind when I recorded my song.

So the first thing I recorded was the acoustic guitar. The strumming pattern is kind of similar to the Shins, especially the way the guitar has a melodic feel to it.

I started thinking about what kind of different layers I could add to the song to fill things out more. The first thing that came was the piano part, which plays simple whole note chords during the singing and takes on a melody line during the interlude and outro.

I added a churchy sounding organ to give it a little more of the haunting atmosphere.

Next I added a shaker. It’s pretty soft in the background but just helps keep a little bit of momentum going with the song.

It needed little more punch so I came up with this idea where in between phrases, I take a recording of a cymbal and piano, and reverse it, followed by an echoey kick drum hit. Here’s what it sounds like.  

I like the direction this was going but I still felt like the song dragged on a little. So, for the second half of the song, I decided to have more instruments come in and shift the vibe a little.

First there’s the drums. I programmed the beat using samples from the Circles Drum Library. I picked a really buzzy sounding snare drum because it thought it fit the vibe I was going for pretty well.

Next I layered on a few extra piano parts. One of them is a steady quarter note played in octaves to help drive the momentum to the end.

I also layered on this tinkly, echoey piano part to give in a haunting feel.

During the recording this song, I was watching Stranger Things and I heard their opening title sequence, which has some really interesting synths parts that pay homage to horror movies from the 1980s.

So I started playing around with some similar sounds and came up with this retro synth line. 

Next I added this really ghostly sounding synth part to really drive home the haunting atmosphere.

For the vocals, I added a slap-back reverb effect. During the chorus, I doubled up the melody and added a subtle harmony part.

Lyrically, this song is about fearing death. Watching people around me pass away has left me with this sense that life is fragile and that I or anyone I love could be gone anyday. I’ve had to come to terms with the fact that we’re all going to die some day. It can be really depressing to think about but it’s also made me want to make the time I have in life count, in terms of keeping my priorities straight.

And with that, here’s the complete song. I hope you like it.

Ep. 114: Song “Killing Time” (Influenced by Wilco)

In this episode, I break apart a song called, “Killing time.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by the band, Wilco, particularly their song “California Stars.”

I liked the beat and laid back feel of the arrangement on their song. So, I tried to incorporate some of those elements into my song. 

So to start with, I recorded an acoustic guitar play the chords with a pretty straight forward strumming. Then I played the same rhythm guitar part again but with a clean electric sound to give it more texture. For the percussion, I started by putting a beat together using samples from the Circles drum library and a tambourine. Then during the chorus, the beat is fairly steady and kind of similar to Wilco’s California Stars with a shaker added in on the bridge.

For verses 1 and 3, I give it a beat similar to the Fleet Foxes song “Battery Kinzie.” 

It kind of reminds me of an old Motown style beat. I also layered on this lofi drum machine throughout the song but you mostly notice on the Verses 1 and 3 when most of the instruments are cut out.

Most of the song, including the solo, has this retro sound organ to fill things out. Again I took some inspiration from hearing this type of sound on some of Wilco’s music. During the solo, I added a really buzzy synth, which is typically a little out of place for this sound but I thought added something kind of unique and gives the song a little more edge to it.

For the vocals, I doubled them up and added a heavy slapback echo reverb sound, which gives it kind of a murky vibe.

Lyrically, this one is a story from the perspective of a teenager struggling to find a purpose in life. They’re watching the world fall apart, the future looks bleak, their parents are constantly yelling at them, and they start feeling like “what’s the point?” They’re never going to be satisfied with life so it feels like they’re just running out the clock, killing time until they kick the bucket. 

I think many of us can occasionally get caught in a similar rut. This song is supposed to represent just a snapshot, that hopefully this type of thinking is temporary and that we overcome it and find a way to gather some meaning and purpose going forward.      

And with that, here’s the complete song. I hope you like it.

And that’s our episode . If you’re interested, I made a music video for this song, which you can find on YouTube or in the description.

Also, This song is available to license for your projects like podcasts and videos. Find it at archesaudio.com. Use the promo code “songoftheweek” at checkout to get 50% off your purchase of this song until March 19th.

Also, for listeners of this podcast, Arches Audio is offering  10% off your purchase of the other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.

That’s all. Thanks for listening. We’ll see you next time.

Ep. 113: Song “Not Easy” (Influenced by The Weakerthans)

In this episode, I break apart a song called, “Not Easy.” This comes from my album Starting Over released back in August of 2022.

This song is influenced by the band, The Weakerthans, particularly their song “Sun In An Empty Room.”

I like the lead guitar line a lot and the way the other instruments keep things simple and stay out of the way. I also like the mellow but melancholy feel this song has. So, I tried to borrow some of those different elements when I made my song.

To start, here’s the original voice memo recording I made while I was still writing the song. The words are just gibberish phrases while I tried to work out the melody.

I eventually came back to the voice memo and finished writing the song. When it came time to record, I started with guitars. First, there’s the acoustic guitar. Then an electric guitar with a little bit of overdrive emphasizing the lead line. Then there’s a bass part that I keep pretty simple to help ground the song.

For the drums, I took samples from the Circles Drum Library and programmed my own part. I tried to mostly keep it simple but throw in some occasional accents and fills.   

One of the last things I figured out was the guitar solo. I took a lot of stabs at it but it kept feeling too busy to me. Then I remember the solo from the Red Hot Chilli Pepper’s song, Scar Tissue. I like how breezy and effortless it sounds. 

So I tried to do something similar with my own guitar solo. It’s one of those situations where less it more.

Lyrically, this song is about trying to come to terms with your place in the world and getting perspective. Like a lot of people, I have big dreams and ambitions. I used to turn to people like Steve Jobs as a model of accomplishing big things. He was quoted as saying he wanted to “put a dent in the universe.” I’ve certainly had that desire but now I’m questioning the sentiment. It’s made me feel like if I haven’t accomplished something big, then my life hasn’t been worthwhile.

 

There’s a line in the 1st verse where I reference that quote and say, “Did I ever matter? Did I make a dent? Now I’m second guessing, what it ever meant” 

I’ve had to learn to let go of that notion, be okay with where I’m at, and focus on the things I have control over. So in the chorus of the song, I say “It’s not easy to see the forest from the trees,” which is about trying to get yourself out of a rut and gain some perspective. 

As one of my friends, Kimberly Knighton wrote in a song, “You don’t have to save the world. Just leave it better than you found it.”

Also, This song is available to license for your projects like podcasts and videos. Find it at archesaudio.com or click the link in the description. Use the promo code “songoftheweek” at checkout to get 50% off your purchase of this song until February 12th.

Also, for listeners of this podcast, Arches Audio is offering  10% off your purchase of the other songs in the music library, as well as any services, including audio editing, artwork, and a new course on podcasting. Visit archesaudio.com and use promo code “makingmusic” at checkout.