Scouter, an instrumental music project, is set to captivate audiences with its unique blend of metalcore intensity and progressive instrumentalism. In this interview, we delve into the origins of Scouter and its evolution from a Dragonball Z homage into a multifaceted musical endeavor. Adam shares insights into the creative process behind the latest EP, “Splash Damage,” drawing inspiration from video games and crafting a cohesive musical journey. As the sole architect behind Scouter, Adam discusses the challenges of bringing a musical vision to life and the profound impact he hopes his music has on listeners. Join us as we uncover the intricate layers of Scouter’s sonic universe and explore the future endeavors of this dynamic solo project.
Can you tell us about the origins of Scouter and how the concept evolved from a Dragonball Z idea into an instrumental music project?
I had the goal about 10 years ago to start a solo project. I was in a local hardcore band at the time, but was toying around with some more complicated musical ideas. I was also doing little metal covers of cartoon and anime theme songs that people seemed to enjoy. So I thought, what could I do with that, but still be original music? The result was: a brutal metalcore project where the song names and concept revolved around Dragonball Z. Over time, I kept coming up with songs that felt out of place with that particular concept, so the music naturally evolved to encompass more than just the coolest riffs I could come up with an easter egg title slapped on it.
How has your background in playing guitar and making music for nearly two decades influenced the sound and direction of Scouter?
I never stop being amazed by what people are doing with the instrument, so I keep adding little quirks and nuances from the things I see and hear. Scouter’s become my outlet for the sometimes weird, out of the box ideas that pop up in my practice and playing around. Opening the concept up from a DBZ homage to more progressive instrumental means anything goes, kind of. It’s largely an impulse. I have a bad habit of recording parts I struggle to remember how to play, just because they came to me off the fly!
The latest EP, “Splash Damage,” is described as an instrumental opus inspired by video games. Can you elaborate on how video games have influenced your musical compositions?
I grew up with Final Fantasy and Megaman and all those classic video game franchises that really did some radical things musically in the 90s. The layering in particular has always inspired me. How sometimes simple leads and melodies can be elevated with the right backing. A lot of these themes are serious ear worms and just plain iconic. They tell just as much story as the gameplay. I aim to tell a story with instrumental metal the same way.
Could you walk us through the creative process behind “Splash Damage”? How did it start with one riff and lead lick idea and grow into a cohesive 5-song EP?
The opening lick of the first track (Crit Chance) was a picking exercise I randomly came up with. Then I looped it to see what kind of chord progressions could work under it. I ended up wth something I thought was really cool, and an early version of Crit Chance was born from some noodling. That song sat in limbo for years actually, until I sat down to brainstorm some new material and ended up playing that song over and over. Figuring that meant I had a good idea on my hands, I took the general melody of the solo section and swapped out the chords under it to see what other kinds of moods I could generate with the same main idea. In the end I had about 7 ideas, but condensed it down to the 5 on the EP.
What themes or motifs can listeners expect to encounter throughout “Splash Damage,” and what do they signify to you as the creator?
You’ll hear that opening lick from Crit Chance pop up throughout the EP, and that’s kind of like an idea I’ve planted in your head. You hear it once and you may have whatever feeling about it. But then you hear it again (in perhaps a different context) and you’re like, “Oh, I’ve been here before. But not exactly.” And I feel like that makes you pay attention. That already established connection.
It’s the same reason why the main lead section in each song starts almost the same. Almost. When you play a video game, every level is different. Yet it still feels like the same game. The same story, just a different chapter.
In what ways do you aim to take the listener on a “complete trip through musical subspace” with “Splash Damage”? How do you incorporate turns, time changes, and different emotional “feels” into your music?
The thrill of a video game is in its challenge. In its progression. You nailed level 1, but oh no! A new enemy type is introduced, or a tough boss fight comes out of nowhere, or your character gets a new way to travel and maneuver. I think time and feel changes can do the same sort of thing for music. I wanted listeners to pay attention, not just play the music in the background like noise. So every now and then I give the listener something that they have to adapt to. I composed a lot of this EP in chunks, then spent time deciding how smooth (or not) I wanted the transition to be between these chunks.
As a solo artist responsible for composing, recording, mixing, and mastering all aspects of Scouter’s music, what challenges do you face in bringing your musical vision to life, and how do you overcome them?
Writer’s block is brutal. I knew that going in, and that’s a major reason why I chose to go with the recurring theme approach with this EP. It’s easier to piggyback off of ideas I’ve already had then try and conjure up a brand new one and hope it works with whatever else I have established.
I’ve also been mixing my music for long enough that I’ve streamlined the process. I have folders with dozens of presets, templates, mix chains, etc just for Scouter. By the time I’ve finished recording a song, it’s already at least 50% mixed, and I’ve got a master chain ready to drop on it too.
What do you hope listeners take away from the experience of listening to “Splash Damage”?
Overall, I want anyone granting me the honor of listening to my music to come away with a feeling of “Yeah, more of that please.” I hope it inspires people to really LISTEN to music. Let it take them somewhere, like a good book or a great video game or the show they’re currently binging. I don’t necessarily need that “somewhere” to be anything concrete. Afterall, there aren’t any lyrics to ease ambiguity. Just as long as it’s a place you’ll want to go again every now and then. Maybe take a friend.
Are there any specific video games or pieces of music that have had a significant impact on your musical style or approach to composition?
Nothing too specific comes to mind. It’s probably just a soup of 90’s video games, 2000’s metalcore, and modern ‘djent’ in my head really.
What’s next for Scouter? Do you have any upcoming projects or collaborations in the works, or new directions you’re exploring musically?
Currently putting the finishing touches on a single I aim to have out mid-summer, plus a Steve Vai cover because why not? From there? I’m not sure yet. I have a concept for another EP but this one is going to be a lot more elaborate, with more of a visual media aspect. So that may be a while.
