Andddddd here it is! This track, 100, is the 100th track that I’ve released since I’ve started making music. Now I’ve probably produced anywhere between 150 and 200 tracks at this point, but only released 100 of them (the first tracks I made were horrible).
Since it’s the 100th track, I tried to combine a lot of my styles into one: Electro, House, Jazz, Glitch, Ambient, and more. It’s a gigantic fusion of different genres that I’ve worked in the past songs that I’ve released.
Purchase via iTunes: iTunes Link
Purchase via Amazon: Amazon Link
Stream via Spotify: Spotify Link
So for this to be a huge fusion, I wanted to put it on a house groove that I could blend a bunch of unique elements together. I decided to start it off with a house melody with percussion, mainly for mixing purposes.
Then, it transfers into the first verse, where I have the the lyrics “I’m gonna keep it trill with ya.” In case you didn’t know, that basically means that someone is going to be straight up. A lot of people say “I’m gonna keep it 100,” so I wanted to have some lyrics that are synonymous with that.
Along with that, I have a bunch of other melodies and elements in play, which then leads into the build. I slowly build it the track up while bringing in a saxophone to kick off the jazzy drop.
On the drop, I have a strong jazz lead with a saxophone, which then moves into the second part of the drop where I add in a glitchy synth that I’ve used numerous times in other tracks. As the drop continues, I then focus only on the glitchy synth, trading off between Jazz and Electronic.
Upon the second verse, I slow it down, bringing in a Soprano Sax, which is then joined by a bright piano lead. I wanted to create a very ambient atmosphere, along with the vocals, to have a chill moment in the second verse.
The track then builds once again, leading into the second drop. On this drop, I really wanted to do a call-and-response groove where I go back and forth between various elements to really make it extremely energetic.
The track then inevitably goes into the outro, where I mainly focus on the glitchy synth. Since this track was a giant fusion, and I was bringing so many elements in and out, I decided to finish on that as I’ve used tons of times in previous tracks.