If you'd like to add Walking On Sound to your personal offline library, you can purchase the album for your personal collection here.
Contact me about licensing any of the songs from Walking On Sound in your video, film, or other projects.
Words often get in the way of that of which could be an aesthetic expression. To absorb the ambience of a place such as Miami, and manifest it into a sonic journey — that's Walking On Sound.
Walking On Sound is my first real album. Released in 2013, it features 10 all-instrumental songs recorded in 2012 and 2013. It’s hard to place in any genre, but it’s more of a down-tempo R&B’ish vibe with a denser, dark (in a sensual way) tone to it. A collection of nocturnes is the best way to describe it.
The sound was heavily inspired by the Miami nights, in which I spent plenty in 2012 (and subsequently in 2013), particularly in Miami Beach along the Biscayne Bay side and the Flamingo Park neighborhood. That’s where it’s more mature, refined and quieter than South Beach, and I’d say the sound reflects that.
All of the guitar work was done on my first Ibanez (“Sweet Blue” that I posted about earlier), along with drum programming in FLStudio. There are too many synths to name, but the common ones were the Nexus2, which was really popular around that time; Sytrus was relied upon heavily—especially for the sub lines; and the Lazy Snake.
There’s a lot of live synth playing (I.e.—not sequenced) and the album really has a lot of expressive performances and captures the moods I was in quite well. These were times when I smoked copious amounts of weed, had plenty romantic relationships and was undoubtedly a Lothario.
Musically speaking, when I began recording the songs for Walking On Sound, it was also where I’d begun to pickup on the guitar and what I was doing with it. I knew what I wanted as far as my sound, and was probably headed to become a really skilled player. More about that in another post.
The cover art is a digital edit of a pencil and paper drawing I did in algebra class in the 90s, and is based on the exponents of the number 2 (negative and positive directions). It had more to it in the original drawing, and oddly it has absolutely nothing to do with the album (as far as I’m consciously aware of). It just seemed to fit visually with the sound.
I hope you enjoy.
