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I am a Los Angeles-based twentysomething. I have a profession, and I have a secret life in music, and this blog isn't about any of that. I like Blogger because I can't read what you're thinking.

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Wednesday, December 22   >>


My bells player moved in with my singer. That's pretty cool, especially since they only met because of our music.

My lease is up in April, which means another imminent move. I'd like to see how living in a place with musicians would affect my playing or dedication to the craft. Musicians, holla -- let's make this happen. Seriously.



So I'm not over the break-up.

The majority of songs on As Tall As Lions' sophomore LP are in G# minor. Not many bands write in that key. It's a great key. It's like chord sex. You can go to a lot of places from that key. As a keyboardist, it's a great key to play texturally. Every chord in that key has a degree of crunchiness that you can't get from any other key.

Keys are really important. If I have a song and for whatever reason people are lobbying it to be modulated, it really pisses me off. I don't show it, but it really bums me the fuck out. The whole reason a song works, aside from the actual core writing of it, is the execution of playing it.

If my execution is hindered by playing in a key that doesn't work for me physically, it trips me out. And I really don't like to use the "transpose" button because that's just lazy.

Guitarists don't really have an issue with changing keys because they, for the most part, only require moving the exact same hand position up or down the fret board to adjust keys. It's not a major physical move and rarely a topic of discussion for most bands.

This is why most bands don't have keyboardists.


G#m7 | Bb-9 | G#m7 | Bb-9
G#m7 | Gm7 | F#m7 | AM7/B

That's sex.

That's also conception, if played on a Rhodes.