I think this is my favorite of the 32 albums I’ve made in the last half year since discovering AI music. I mean, I love them all and can happily listen to each album over and over again. But this one speaks directly to me.
“Fresh Every Day” was inspired by an Ursula K. LeGuin quote comparing love to bread, but in this case, it’s also about music and how I can now make a new album for myself every few days if I want.
“Watership Download” is a song about how I saw a copy of Watership Down as a kid with “More Than 1 Million Copies Sold!” on the cover and misunderstood it for a brief shining moment to mean almost infinite sequels.
Never got over that. And now… well…
“Infinite Marshmallow Machine” is a song that’s fundamentally about AI, using the aesthetic of the two marshmallow experiment.
“But Not Like That” is pretty obviously about how people have reacted to the pure magic that is generative AI. But it’s also just about so many human reactions that I’ve seen and been disappointed by.
And it’s also just such a so, so pretty song.
“The Hierarchy and the Ceiling” was inspired by a post from Claire Silver that I found really comforting when my communities basically kicked me out for loving AI.
I made a fragment in the early days of Suno, but now it’s finally a full, gorgeous song.
To me, this is one of the most important songs I’ve made.
“Where the Animals Can Talk” is a song about reading, writing, and editing fiction about talking animals all my life, always wishing to instead live in some kind of Silly Symphony cartoon where the animals talk and the trees sing.
“Little Mermaid in a Landlocked Life” is a song about loving being in the water. It took forever to narrow in on exactly what this song should be, but when I happened on that title phrase, I knew it needed to be the hook, and it is GORGEOUS to hear.
“False Horn on a Real Unicorn” is inspired by the part of The Last Unicorn where Schmedrick puts a false horn on the unicorn so the carnival-goers recognize her as more than a mare.
But it also works really well as an allegory for social masking.
“Wireframe Starfruit” is about the kind of rare thoughts that come late at night and the shape of life, and it has a doo-wop break about precious gems…
It’s epic and complicated. I didn’t know if I could pull it off, but I’m so happy with how it turned out.
“Blossom World” is the kind of short, vocal-centric piece that Brian Wilson likes to include in his albums, and the content is inspired, of course, by the line in Good Vibrations, but also the picture book Hamilton Duck’s Springtime Story.
“What if I just stopped choosing
And the happy just arrived
Like weather, like a season
Not because I’m good enough
Not because I’ve suffered enough…
Just because it’s Tuesday
And the happiness comes on Tuesdays”
“Time Paradox” is about the fundamental weirdness of how time feels like it takes forever to pass, and then you look back, and it’s like a blink of an eye.
I guess I wrestle a lot with the nature of time, and that comes out in the music I make.
“Begin Again” is the perfect way to end an album with “On Loop” in the title.
I made sure to hang a “darling” off the end of one of the lines to push Suno into the musical space I was looking for, and it worked exactly as intended.