The Story of Little Boxes
The Pink One
The Pink One is the first track I made for the EP. It dates back to 2016. I had the concept of the EP in mind, and ideas for all three colours but the Pink One. I started to mess around with a seventh chord arpeggio on the piano and made a Hammond sound. These two together create the basis of the track. The mood of the main chord progression was happy enough, so I decided to use this track as The Pink One.
The tonality was inspired by Hans Zimmer’s Masterclass, in which he said ‘I like writing in D’. I thought, I give it a shot and wrote a few chords with D. They move around this note, so the bass doesn’t change for a very long time. The midsection has a new tonality but is also related to the key. The return of the main motif is a tricky chord change I’m very proud of. I also applied a production trick of Hannah V, and had the luck to meet her in London. She was kind enough to listen to the track and gave very nice feedback, which means a lot to me.
The Green One
I wrote this chord progression in my teenage years but never produced a track with it. This track was probably the biggest motivation to pursue music and production, and put me on this journey across schools and countries and lives.
When I started to work on the EP in 2016 I recorded the chord progression on a Steinway piano in a concert hall with a broken mic. I had no idea about recording back then, so I had this poor sounding and poorly played sample. I insisted on using that instead of re-recording it. Against all odds, it made it to the track. I recorded a few additional sounds with a Juno, a Nord and some Max effects. The track also got a house-like beat and a Hammond-sounding, but entirely electric bass.
The tonality was inspired by Hans Zimmer’s Masterclass, in which he said ‘I like writing in D’. I thought, I give it a shot and wrote a few chords with D. They move around this note, so the bass doesn’t change for a very long time. The midsection has a new tonality but is also related to the key. The return of the main motif is a tricky chord change I’m very proud of. I also applied a production trick of Hannah V, and had the luck to meet her in London. She was kind enough to listen to the track and gave very nice feedback, which means a lot to me.
The Blue One
I wrote this chord progression in my teenage years but never produced a track with it. This track was probably the biggest motivation to pursue music and production, and put me on this journey across schools and countries and lives.
When I started to work on the EP in 2016 I recorded the chord progression on a Steinway piano in a concert hall with a broken mic. I had no idea about recording back then, so I had this poor sounding and poorly played sample. I insisted on using that instead of re-recording it. Against all odds, it made it to the track. I recorded a few additional sounds with a Juno, a Nord and some Max effects. The track also got a house-like beat and a Hammond-sounding, but entirely electric bass.
The tonality was inspired by Hans Zimmer’s Masterclass, in which he said ‘I like writing in D’. I thought, I give it a shot and wrote a few chords with D. They move around this note, so the bass doesn’t change for a very long time. The midsection has a new tonality but is also related to the key. The return of the main motif is a tricky chord change I’m very proud of. I also applied a production trick of Hannah V, and had the luck to meet her in London. She was kind enough to listen to the track and gave very nice feedback, which means a lot to me.
The Yellow One
I wrote this chord progression in my teenage years but never produced a track with it. This track was probably the biggest motivation to pursue music and production, and put me on this journey across schools and countries and lives.
When I started to work on the EP in 2016 I recorded the chord progression on a Steinway piano in a concert hall with a broken mic. I had no idea about recording back then, so I had this poor sounding and poorly played sample. I insisted on using that instead of re-recording it. Against all odds, it made it to the track. I recorded a few additional sounds with a Juno, a Nord and some Max effects. The track also got a house-like beat and a Hammond-sounding, but entirely electric bass.
The tonality was inspired by Hans Zimmer’s Masterclass, in which he said ‘I like writing in D’. I thought, I give it a shot and wrote a few chords with D. They move around this note, so the bass doesn’t change for a very long time. The midsection has a new tonality but is also related to the key. The return of the main motif is a tricky chord change I’m very proud of. I also applied a production trick of Hannah V, and had the luck to meet her in London. She was kind enough to listen to the track and gave very nice feedback, which means a lot to me.