Overview

My first proper EDM track—more dance-driven than my earlier electronic work, with a different energy. It also marks a shift in the kind of music I'm making, and is probably the breakthrough I'm most proud of so far.

Opinions on Previous Tracks

In my previous tracks, even when things seemed “positive”, there was still a lot of tension and overthinking underneath. Most of them ended up feeling pretty neurotic, and I didn’t like that.

Music subconsciously affects people. If you're putting out something negative without purpose—without either helping people feel understood (relatability) or showing a way through it (e.g. your own journey escaping it)—then it’s not a great thing to be making. It just reinforces that same mindset and will only lead a negative impact on the listener overall, even if only subconciously.

Though I’d like to say my earlier songs were building relatability—truthfully a lot of it was just me venting. And I don’t think that’s a good foundation to build music on. If it’s just venting, it doesn’t really help anyone—it just puts that same energy back out.

Around the time I came to that realization around the foundation I want to build my music on, I was also starting to work through those same issues myself. So instead of staying stuck in that mindset, this track finally came from a different place :D.

More on "Let It Go"

"Let It Go" wasn’t built around a fixed idea. It mostly just evolved into two things: a track that’s fun and actually vibeable, and a continuation of my earlier themes—but with a real shift in mindset.

In my older songs, even when things seemed “positive”, there was still a lot of tension and overthinking underneath. Here, that changes. The stressors are still there, but the issue wasn’t them—it was how I was approaching them. This track reflects being more ready to face things instead of getting stuck in them.

The intro plays into that in a way I didn’t plan. It builds up like it’s about to drop into something big, but instead pulls into a calmer section that actually starts the track, and then slowly builds back up again into the real drop. It almost feels like foreshadowing the song's deeper meaning.

Looking at it now, that start feels like a character shift. Not something I consciously designed, but something that ended up showing both my growth as a person and in production.

From there, the rest of the track feels like a progression of that. The tension keeps building, but each drop turns into something you can actually move with. Though the top-line melody changes with the drops, the underlying layers (like the repitivie double notes that increase in pitch four times and last 2 bars) do not release with the drops. This helps the song still carry the weight and tension—but it doesn’t collapse.

The overall feel isn’t just “happy”. It’s more like being in the middle of something intense but knowing you’ll be fine. There’s still tension (constly present, as mentioned before), still pressure, but it feels controlled. Not relaxed, but confident.

The ending isn’t fully resolved either. It still leaves things open, because that’s how things usually are. But it’s forward-moving—like the challenges are still there, just not something I’m avoiding anymore.

The phrase "let it go" (which plays through a robotic voice in the end) also comes from that idea. Not ignoring things, but letting go of the mindset that makes them harder than they need to be.

Production

Production-wise, this is where things finally clicked. I moved away from the safe, “cave”-like sound choices I used before—clean safe sounds that worked well but didn’t stand out—and started using sharper, more distinct sounds with actual character.

The drums play a much bigger role here, with a proper house-style groove that drives the track instead of sitting in the background. Instead of relying on pads and ambience, the energy comes from the melodies and how they move. Different lead ideas come in and out, keeping things evolving rather than repeating the same pattern.

Not to mention, with proper side-chainging of the bass with the drums, the bass has a better grove. And nearly EVERY sound (with the exception of the whistle-like-lead, drums, and the cruiser-strings) is a synth made by me using Vital (serum-like-plugin) — a big feat for me in terms of my sound design skills!

Overall, this is the first track where I felt like I wasn’t just figuring things out—I actually knew what I was doing and enjoyed the process while doing it.