“Monplaisir” (Used 10 times)
Alpha_Hydrae on 10/29/2017 at 02:39AM
Hi, I hope youre okay. That's it, I just released my 100th album which contains the 1000th title I have put online since I started my musical production. It was cool, I learned a lot of stuff about music, composition, recording, instruments, my way of creating and my relationship to music and its creation have evolved a lot in proportion to the productions and anxieties connected with this activity.
I started publishing music on March 16, 2011, solo, my first recordings date back a few years before, in the U-Man improvisation duo and with a rock / folk band called Black Sheep. It was cool, and I still remember when I released my first album. I knew it was not top quality, it didn’t sound like the artists I used to listen to, a point that really frustrated me for several years and I think I have since discarded. I released a second solo album a year later, on March 16, 2012 and an EP with the group Nobody Opposed The Project and then another EP challenge to record 5 tracks in two days. It was a hell of a challenge. I did not really master the production tools I used, nor did I have the same composition tools as now (creative path, instruments, references). Although I wasn’t very pleased with the result of the two previous albums and EPs, it was really only at the release of the third album on March 16, 2013 that I really felt I could do things pretty good in music. It had been a while since I was making music in an amateur way and I had quite a few doubts as to what I was putting online. Everything I published was weighed thoroughly, I was really afraid of being ridiculous, of publishing things of bad sound qualities that would sweep away my words. Sometimes I have been hurtful about feedbacks on my work, but other messages have reassured and encouraged me in this direction. The shape really distressed me for a long time, and it was a big obstacle to my productivity but also gave me impulses of interest to the production. I then chained more projects and my production barometer exploded in 2016 and even more this year.
I came, across all my bands and musical aliases on the internet, not to mention the best of and the compilation Mothlight OST (I counted the 3 unreleased songs), to 100 albums and 1006 songs. Of which 4 copyright albums, 2 in CC-By-NC-SA and 3 in CC-By.
It's clear, I had something to prove to me. I am quite anxious in general and I needed to know that I was good at something, at least one, and I think that suddenly I master this stuff, produce fast, stuff not necessarily good sound quality which would provide a potential revelation at every listen but stuff that can make the ork according to the person who could listen to it. I did this in a large part for myself, for particularly selfish purposes, to have the biggest (even if I avoid saying it in society), to impress when I say it, to silence the old remembrances of rejection that I have trouble digesting, for when I am depressed to say that I accomplished this thing. I did it to stand out a bit of the lot of artists because it is my only way to appear from time to time on the bugged charts of some sites that only present the same artists all the time, so I mass produce so one of my titles has a little visibility and is listened, remixed, reused and can live a little bit. I did it to kill the boredom that annoys me every day, to give direction to my life, to say "I did this today" because it still has a little meaning and values in my eyes to do this every day, because it is one of the only things that I am able to master with certainty.
Then I did it because some people told me that what I was doing pleased them, made sense to them or listened to it with pleasure. And because free licenses have allowed me to have feedback from anyone with an interest in my music beyond listening and fun.
I'm glad I made the choice to release my music in CC0, it was my only real hope of being heard somewhere. I have neither the knowledge, nor the values, nor the physical, financial or mental capacities to do anything alone in the mainstream or underground music scene. For a lot of reasons, these two layers of musical visibility are not made for me and could not receive me anyway. I do not conform to the mainstream system and the French underground system. I do not have a correct recording sound quality for the underground, a car license, a car and amplification gear to shoot in the coolest bars in France, I do not have the mental strength to call all the concert halls and bars in order to book dates, I do not have the mental strength to suffer failures to these steps, I do not physically have what it takes to turn with gear without hurting me .
So to you that make live this little world of free music and music from underground, thanks to you. It is thanks to you that I have this little radiance and that people can finally listen to me and use what I do. It gives meaning to a lot of things, so thank you very much to you, you are incredible.
Well, I released 100 albums, ok, it's cool, but what does it change in the end? Nothing. I should not be listened more because I have produced more, I am not superior to another artist who would have produced less or not at all. My words have no more credit than any other artist because I have produced more.
I'm still glad I did it.
If it is your will to do the same, produce a max like that, it is possible. It takes a lot of work, 2/3 years of unemployment still is not a lot to do it, and if it's something you want to do, make me sign, it would interest me to know other people who are in the same approach of production.
Now, I'll keep recording music, maybe take a little more time, do more collaborations and work not just for me. Besides, if you are looking for someone to make the music of one of your creations, do not hesitate to contact me.
Thank you for your time and attention, I leave you to listen the 100th album called · I hope you’ll like it.
Thanks again <3
cheyenne_h on 03/20/2017 at 11:57AM
Monplaisir is a man of many bands, and if you've ever cruised through the Public Domain offerings at FMA, you're likely to have encountered a project or two of his! He is devoted to sharing his music as openly as possible with a CC0 license, which allows for any type of re-use, and is internationally recognized as being dedicated to the public domain. Of course, it doesn't hurt to give credit when you use a Public Domain track, but there are no limitations to what you can use this music for. You can find some "Best Of" tracks in this collection: "Let's Hear That Crap!"
FMA: Tell me about your music projects on the FMA - you have a few. (Monplaisir, Alpha Hydrae, Komiku, etc). Do they each represent a different style or approach to music?
Monplaisir: I've started producing music under the name of Alpha Hydrae and after few years the name became boring so I've changed to Monplaisir. Monplaisir is like my nickname for everything that fit in noise rock/folk, Komiku is dedicated for the soundtrack of videogames that don't exist which can have some similarities with work under the Monplaisir nickname, Demoiselle Döner is for harshnoise/remix/cold electro, BG du 72 is french noisy songs about love and kindness. With this, I've some bands, SUMMER, frontwave/noise rock, Cuicuitte, a brut folk band with my friend Otite Noire, Pas Dans Le Cul Aujourd'hui, a heavy noise & guitar band, U-Man, improvised french songs... All those names are different ways to approach the music and reach the flow.
FMA: Do you collaborate with others or do you prefer to make music alone?
Monplaisir: I love to collaborate with musicians and to do music alone. Doing music alone is really cool to make fast and precise music, but sometimes it's difficult to make new music because of the lack of chaos and influence. I often collaborate with musicians to do improvisation like in U-Man and Pas Dans Le Cul Aujourd'hui, it's sometimes a pain but really surprising and rewarding.
FMA: Where do you get ideas for songs and albums?
Monplaisir: Most of the time I get my ideas by trying to do the same kind of music as other bands I listen often (like Cindy Lee, Vampillia, Xinlisupreme, Natural Snow Buildings...). Also I love to have challenges, like, to produce a maximum of music in a short time (Baisers de Sonora was recorded in 26 hours for the FAWM2017), to only use one instrument or two, or like for my project Komiku to create a soundtrack for something that doesn't exist. And when I'm stuck, I look for new guitars and effect pedals.
FMA: Why do you choose to license your work with a CC0/Public Domain license?
Monplaisir: I've chosen the CC0 licence for multiple reasons. First, because I hate the copyright logo, a little C alone in a bubble, so sad. Second, for obvious political choices. I find the actual copyright in France and USA completely absurd. It's based in a philosophy I really don't like, an old individualist way of seeing the culture, which is really sad and greedy. So I want to participate to the alternative. I've seen how it's hard for some people to remix stuff for their own project because of copyright. If I can help to save other artists some time and money to express themselves, all the better. Also, I really don't care about what people do with my music, except when people are oppresive against other people and using my music to do so. I find that a bit rude.
>> CLICK THE LINK BELOW TO READ MORE! >>