“Rivered Without You” & “Red Rock Mountain to Your Love”
My deep singing voice carries a lot of my dad’s sound—that’s something many people have recognized. Recording this EP took about four years to complete. I kept running into software and recording failures. When I listened back privately, everything sounded great, but once I prepared to publish and present it publicly, I would hear feedback issues.
After so many failed attempts, I decided to improve what I could—I added more soundproofing, repositioned the mic, and bought about three different microphones to experiment with tone and sound.
There was “All Creatures Gaze” album Ep also & the piano & koto to American Opera singing, of “A Love That’s Still” well, the album couldn't stay still nor could the creatures gaze enough they fell to
Publishing after glow. The after glow as in it still wasn’t mix long lasting and I could no longer feel, chill or enjoy it all.
The first times singing again—after a decade or more of not using my full range or even remembering it—I had to come back down to center. I wasn’t on a high horse in 2019 or for a long time; I was just going with the flow of my surroundings. During that period, I had also stepped away from keeping the Word active in guiding the youth in my family, even though they seemed to need it.
During that time, I worked on fantasy EPs like Woodikkul Pine, Sea Lad, and Aprincus Ducazon. If I hadn’t been sick, they might have been masterpieces, but they came out confused, reflecting what I was going through at the time.
At another point, I explored operatic-style music. On the album Fancy Restaurant 1700, I performed a deep vocal piece inspired by European culture and Benjamin Franklin’s glass instrument (the glass armonica). I challenged myself to create a string-like sound that was both acceptable and bearable to listen to. I took this on after learning that the instrument was said to cause issues, and I wanted to contribute to extending its legacy. While some people enjoyed those projects, the production didn’t give me lasting satisfaction. My issue may be that I always aim for something timeless—durable, reusable, long-lasting music. Otherwise, I tend to discard it.
The bold experimentation I developed was partly influenced by my Uncle M., along with the enjoyable experiences I had with the Parodical S. I use to help set up ministry music events for many people.
I didn’t have many formal lessons—just some early choir experience and what I picked up from my child’s lessons with Phaleta, a well-known singer, especially in pronunciation and vocal delivery.
From the beginning of my life, there was my dad’s singing, and my mom and I singing Opera for fun—so much that you could call it practice. As teenagers, we often thought we sounded like great opera singers. I also attended Salvation Army American Opera performances as a child.
Later, I listened to a CD from the Cincinnati classical music scene featuring a deep-voiced singer. I studied that sound for years and eventually performed the song “Take Your Burdens to the Lord” myself—without realizing it fully connected back to my earlier influences until more than a decade later.
I’m not trying to be a force of nature—I’ve moved past that phase of chasing operatic intensity. Now it’s about being grounded and responsible in real life. What I aim to express in my music are feelings like gratitude, admiration, truth, bold love, strength, and endurance—especially in songs like “Rivered Without You” and “Red Rock Mountain to Your Love.”
I also sung back up for my father once when he recorded in 2010 at my old apt. I learned a few skills from his vocals. Dad had the most influence on my deep voice. I most look like him when I smile. Rih