So...Who Is The Insane Warrior?
Alrighty folks, so I wanna break this whole "Insane Warrior" thing down for you, cause I think it's only fair.....who IS that guy?
For those of you who aren't already tapped in, my label is putting out a record on Feb. 1, 2011. The artist is called The Insane Warrior, the album - We Are The Doorways. In the interest of full disclosure, here's what happened: before the period in which I was working on The Colossus, I kind of went off on a creative bender/tangent of sorts. I have ALWAYS believed in following the creative instincts or muses, regardless of commercial viability (contrary to some folks' opinions). As an aside, I've found it ironic in the past that some folks have accused me of trying to "sell out" or make a kind of music that would be more commercially successful, when in actuality, the most commercially viable thing I REALLY could have done would have been to try and make "Ghostwriter" parts 2-38. In many ways, I have played the equivalent of job security Russian roulette, in the interest of maintaining my own artistic integrity(corny ass phrase, but you get the point).
Anyway, I felt like I needed a break from the expectations I have of myself when making "RJD2" records. So I went off and did something that felt natural, and was really done purely for FUN. Not that making records as "RJD2" isn't fun, but there are elements of strategy, catalog-referencing, non-repeated ideas, and so forth; I wanted to throw all of that out the window for a minute.
Around the summer of 2008, I became obsessed with science fiction and horror movies of a particular era; roughly speaking, 1975-1984. I was always mildly into these kinds of movies ever since I was a kid, but frankly, the depth of Netflix really made it easy to REALLY get knee deep in this particular era of the genres, which can blend together at times. I ended up finding all of these movies I wasn't aware of, some I had already seen as well, and taking in the soundtracks. It was really like the perfect antidote to the mentality I take into an RJD2 record; a lot of this music is in ways the exact opposite of what I am usually trying to do (the content of a lot of these movies can be really fascinating as well). So I became obsessed with this stuff for a period, enough so that I ended up making a record that was in a lot of ways an homage to this era of film scoring. It allowed me to escape the baggage that can come along with the continuing of a catalog. And it was FUN. I had a blast making it. I want to go more into the technical and conceptual aspects of the record, as there is more to it than just that, but I think it's only appropriate to wait until its released, so then we both have the same frame of reference. For now, I want you to just go into it with no expectations, because that's exactly how it was made. In ways, you can think of The Insane Warrior as an entirely different dude. Like that part at the end of The Adventures of Link, when you fight that inverted version of yourself. It's funny - when I started making records, I toyed with the idea of renaming myself every time I released an album, 'cause I always liked the idea of an artist trying to reinvent themselves on each album. Obviously, I didn't. This album is kind of an incarnation from an alternate universe where that IS happening - that's how I'd like you to think of it, really. Off somewhere inconceivable is The Insane Warrior.
Feb. 1, that dude is coming…
For those of you who aren't already tapped in, my label is putting out a record on Feb. 1, 2011. The artist is called The Insane Warrior, the album - We Are The Doorways. In the interest of full disclosure, here's what happened: before the period in which I was working on The Colossus, I kind of went off on a creative bender/tangent of sorts. I have ALWAYS believed in following the creative instincts or muses, regardless of commercial viability (contrary to some folks' opinions). As an aside, I've found it ironic in the past that some folks have accused me of trying to "sell out" or make a kind of music that would be more commercially successful, when in actuality, the most commercially viable thing I REALLY could have done would have been to try and make "Ghostwriter" parts 2-38. In many ways, I have played the equivalent of job security Russian roulette, in the interest of maintaining my own artistic integrity(corny ass phrase, but you get the point).
Anyway, I felt like I needed a break from the expectations I have of myself when making "RJD2" records. So I went off and did something that felt natural, and was really done purely for FUN. Not that making records as "RJD2" isn't fun, but there are elements of strategy, catalog-referencing, non-repeated ideas, and so forth; I wanted to throw all of that out the window for a minute.
Around the summer of 2008, I became obsessed with science fiction and horror movies of a particular era; roughly speaking, 1975-1984. I was always mildly into these kinds of movies ever since I was a kid, but frankly, the depth of Netflix really made it easy to REALLY get knee deep in this particular era of the genres, which can blend together at times. I ended up finding all of these movies I wasn't aware of, some I had already seen as well, and taking in the soundtracks. It was really like the perfect antidote to the mentality I take into an RJD2 record; a lot of this music is in ways the exact opposite of what I am usually trying to do (the content of a lot of these movies can be really fascinating as well). So I became obsessed with this stuff for a period, enough so that I ended up making a record that was in a lot of ways an homage to this era of film scoring. It allowed me to escape the baggage that can come along with the continuing of a catalog. And it was FUN. I had a blast making it. I want to go more into the technical and conceptual aspects of the record, as there is more to it than just that, but I think it's only appropriate to wait until its released, so then we both have the same frame of reference. For now, I want you to just go into it with no expectations, because that's exactly how it was made. In ways, you can think of The Insane Warrior as an entirely different dude. Like that part at the end of The Adventures of Link, when you fight that inverted version of yourself. It's funny - when I started making records, I toyed with the idea of renaming myself every time I released an album, 'cause I always liked the idea of an artist trying to reinvent themselves on each album. Obviously, I didn't. This album is kind of an incarnation from an alternate universe where that IS happening - that's how I'd like you to think of it, really. Off somewhere inconceivable is The Insane Warrior.
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