Orchestrator Of Worlds: A Chat With ARNT
(Credit: ARNT Soundcloud page)
A spaceship initiates hyperspace into an alternate dimension; a cyborg searches a Blade Runner-esque wasteland for a long lost companion; dreams melt into reality as synthesisers and MIDI-triggering gadgetry rain from the sky. Sure enough, all these imaginary scenarios sound like they could be plucked from a sci-fi odyssey or an anime adventure. Without compromise, that’s the sort of trip that ARNT’s music dares to evoke.
The brainchild of Aaron Tan, ARNT might just be the hardest-working bedroom producer whom you’ve yet to hear about. But if you have, then you must be aware of his over-the-top affection for saccharine synths, monstrous percussions and spacey vocoders. For years, ARNT has been patiently honing his craft, to the point where he’s already composed over a hundred productions without even releasing an EP. But that’s only because the producer/visual artist/instrumentalist extraordinaire wants to make his impact a perfect one, and from what he’s teased so far, the wait is undoubtedly worthwhile.
Strap in, as I enter the imagination of ARNT and how he makes worlds with his synth-pop symphonies.
Your compositions are more than just songs; they’re theatrical soundscapes. Why do you have such a penchant for these big emotion-stirrers?
I grew up enjoying orchestras and progressive music, usually in the spheres of metal and rock. I listened to a lot of anime-type music as well, and I guess I borrowed heavily from that. I really like having a massive sound that can be used to contrast with softer, prettier moments; it brings a lot of melancholy to the melodies that I use. Usually, I would try to evoke a feeling in my music, and it mostly centres on themes of separation anxiety, longing and contentment.
If you could soundtrack your very own anime or sci-fi animation, what kind of plot or elements would you want it to have?
Actually, I do have something planned for the future. The central plotline would be about dreams, and dreaming of people and places. It’s mostly ethereal and very rooted in its themes of longing.
Credit: ARNT
With the syrupy melodies, whopping synths and glitched-out textures, I can’t help but sense a clear nod to the likes of Porter Robinson. Has he been a massive influence on your sound? And if not, who else has?
[Laughs] I started doing electronic music production because of him! He’s not only my production influence, but I take a lot of cues from him – always be genuine and always be original. That being said, I only chose to start an actual music career recently because I sounded too similar to him and I wasn’t happy being a one-off copy.
Instead, I decided to conceptualise a story I wanted to tell, and then sat down and decided what sounds I should use for it. There are so many creative artistes who I am inspired by, such as Madeon, Hundaes, Krayysh, Sanjaux, Lione, Purity Ring, Wavedash, Ekali, Myrne, San Holo, LLL, Snail House and Getter. It doesn’t even have to be music. At the moment, I’m really obsessed with Lauren Tsai (yes, from Terrace House) and her art.
What’s amazing is that all these vast, large-scale compositions are coming from the DIY antics of a bedroom producer. How many years has it taken you to morph into the production whiz that you are today?
So I started a band with my two friends called Palty Sotato which became kinda known for a while, but we were just doing electronic takes on popular songs. I didn’t really care about producing or playing live then, but I took it seriously in the past two years post-Palty Sotato. I realised that I could write melodies that I really loved, but I was really bad at writing drums, mixing and mastering, and I knew I had to spend a lot of time to hone myself. I didn’t want to engage a studio to do these things for me because I knew that I wanted to be able to produce on the fly, and I’ve gotten significantly better since then. I think the most important thing is to have an eclectic range of influences and basically lift elements you deem fitting into your own world.
You made a lot of your music while studying in Melbourne. Did being away from home affect your mindset in making music?
It definitely did. I got to liaise with many talented producers in Melbourne, and at the same time, I made music a priority for myself there – even if that meant not going out with lovely people as much as I used to. Being away from home put me in a mindset where I instinctively retreated to writing music after taking in new sights and sounds. Usually, this music was meant only for me and no one else to hear.
I’ve seen videos of you on social media slaying it on the guitar. Did you have a background playing in rock bands previously?
Yes, I did! I always loved pop punk and bands like Fall Out Boy and Alkaline Trio. But to be fair, in retrospect, I realised I loved their melodies more than their sound. I started music because my mum made me learn the guitar, which I loved in the end. I never really liked learning songs, so I chose to build a strong foundation in music theory in order to improvise whilst playing. Improv has helped me write catchy sections that I now realise bolstered my melodic sense.
Credit: ARNT
While you’ve yet to release an official EP, it’s no secret that you’ve been keeping busy fiddling with many, MANY songs – from originals to edits. How many productions would you say you've worked on so far?
I would say about over a hundred of them. I have two hours of original music and I’m aiming to keep a huge bulk to myself, just because I realise that some things are an extension of me and I would not want to share overtly personal things. The music in its nature is very sensitive, and you can definitely feel what I feel when you hear it. Making music feels natural and I could do this for hours; it’s iterative and enjoyable.
Can you tell us about any upcoming tracks or EPs you have lined up?
In 2019, I have an EP lined up and it’s more of a conceptual thing where the songs flow from one to the next. It definitely has a more ‘technical’ sound than my single “Decide”, but it will also be catchy, emotional and massive. I’m trying my best to liken myself to less of a producer and more of a creator in a way. I will be making and curating art and visuals for it, and I really hope people will feel the sincerity of it.
So what does inspire your visuals?
I guess a lot of themes like fantasy, loneliness, isolation and abstract art. I really like space and the concepts pertaining to alternate dimensions and dreams.
Are you planning to collaborate with artistes in future tracks?
I definitely would want to collaborate with talented singers, so if there are any reading this, please hit me up [laughs]. I want to work with someone like Linying. I saw her live in Melbourne at this intimate show and she definitely wears her heart on her sleeve!
And finally, while your music might possess a digital framework, it’s evident that it still has plenty of heart. What lies in the heart of ARNT?
Well, despite being surrounded by talented, lovely people who are helping me with this endeavour, I constantly remind myself that, at the heart of what I’ve been doing, you have to be content with yourself. Someone in the industry once told me, “You are content with your own music and are never going to share it? I’ve never seen that before.” And those words really resonated with me because I realised that, at the core of everything, I’m trying to address my own feelings and my own thoughts through this medium. I never want to make music that’s impersonal or masked in a sound I might not like, just so I can be popular. I just want to be me.
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