Dive into omniboi‘s mind through these bluntly honest answers. He pulls back the curtain on his artistic process and gives a real talk on the story behind the making of his debut EP, ‘Panorama,’ released via Nettwerk. This material pulls you into futuristic soundscapes sculpted from synth innovations you won’t find anywhere else!
1 — How did the concept and theme of the ‘Panorama’ EP come about?
I do a lot of writing from my own perspective and the ‘Panorama’ EP was more of an exercise in writing from perspectives that weren’t my own. It influenced the name as well as a lot of the lyrical choices.
2 — Your sound blends different genres like Future Bass and Jazztronica. Does being hard to define fit your artistic personality?
Yeah, I think I pull sonic inspiration from a lot of different places, and as I grow and experience new things, that sound always changes so I’ve always had some trouble fitting consistently in a specific genre for too long. I think I have a lot of songs that fit into genres but my catalog as a whole tends to change over time.
3 — Musically speaking, who are some of your biggest influences?
In the earlier stages, I definitely got a lot of influence from videogame composers like David Wise and Nobuo Uematsu. But later I think more of my inspiration was taken from shibuya-kei composers/producers like Fantastic Plastic Machine, Cornelius, and the works of Yellow Magic Orchestra and YMCK.
4 — The single “Ghost Town, USA” seems very personal. How does putting personal experiences into lyrics help you process what you’re going through?
I think documenting any experiences or thoughts can be a helpful part of the process. Some people keep a journal and some people tweet intrusive thoughts or feelings into the public void of the internet. I think even when I write songs from perspectives that aren’t mine, there’s always a little bit of it that’s informed by my own personal experiences. I think it’s functionally the same part of the process that some people get from “venting.”
I used FL studio as the DAW. The instruments I used were a Yamaha Mx61, a Yamaha Reface CS, A Roland Gaia, a Roland SP404MKII sampler, a Microkorg S, and a Yamaha Reface CP. The vocals were recorded on an Audio Technica P48. I also used a lot of drum and vocal samples supplied by friends & fans.
6 — What have you learned about yourself through creating this EP?
I’ve learned how much live performance influences how I write music. I went on tour this year and a lot of the choices I make in the studio are centered around how well I’ll be able to recreate/perform the song live in front of an audience.
I really do try to make an effort to not put too much-projected weight on the listeners when they experience my music. A thing I’ve learned is that whatever I really WANT people to fixate on in my work usually isn’t the thing they walk away with and the things people ACTUALLY fixate on in my work usually surprise me. However, I was very happy with how the bridge from Cagecraft came out. I mess around with time signatures and rhythms a lot in music in a very “jazzy” way but very rarely in a “math-rocky” way and I feel like Cagecraft was me experimenting more with that very specific Math-Rock style of rhythm juggling.
8 — What’s next for you after this EP?
I’m just gonna keep on working on music. I’m currently looking for more scoring work (I scored a videogame back in 2022) and do more performing. A lot of my inspiration comes from traveling to new places and performing live so I hope to be able to do more of that in 2024.