Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. - Alan Moore
Over the course of my experience as a listener, student and creator of pop music1, I've found myself using the self-coined term "magic pop" to describe records that induce emotions, provoke thought and otherwise alter consciousness.
Magic pop is a contradiction: how can pop, music's commodified form, truly embody anything other than its commercial value? The reality is that, like all of us, music is caught up between our systemic hustle and the essence of humanity, to the extent that many of its traits (innovation, connection, craft) appeal to both sides. Verse-chorus structure, 20 minutes per side of vinyl, a teary-eyed subdominant minor: where does the art form end and the commodity begin?
The vast majority of pop is not magic, but magic pop is important because it demonstrates music's true potential, humanity's affinity for it and magic's existence. There are no formulae for creators, but sometimes we need to be plain about what we're trying to do. What follows are twelve guidelines I consider when trying to make my own magic pop, developed by testing creative processes, examining historic music and listening to other musicians' advice. This is not a judgement but a framework to help us make better pop music.
Magic pop has no rules, except those we choose. There are no traditions, only methods. This is absolutely essential to enable every other facet of magic pop.
No two humans (or combinations thereof) are exactly alike, so the most original music is that which truly reflects the self (or group).
It's proven that different musical elements like rhythm and harmony affect the brain in specific ways. Music's psychologically active features must be harnessed to fulfil its potential.
Virtually any musical innovation derives from the novel application of existing or brand new technology. Magic pop requires the interrogation of our relationships with sonic tools and their capabilities.
All music is a response to other music. In this musical conversation, it is important to say what we mean and avoid treading on each others' toes. If you take something out of the pot, put something of yours in.
Civilisation's constant evolution and sound's virtually infinite permutations ensure this. Always look for a new form; new forms evolve at the fringes of extant forms.
While they should not obstruct creation, every compositional decision can be optimised, and arbitrary choices restrict music's originality and efficacy. Structure, individual timbres, lyrics: everything counts.
Music can respond to and communicate any non-musical message, and thus is open to the influence of all extramusical information. Anything could be explored and articulated to maximise pop's human value.
Insecurity, conformity and replication are inevitable byproducts of culture's social nature. These must be disregarded to make the music we really need to.
Most magic pop is borne of exceptional effort, skill and/or creative circumstance. Anyone is capable of all three. Magic pop can be completed quickly, but music frequently suffers from being rushed.
Magic pop is ambitious and/or audacious. The former is rewarded by patience, the latter requires charisma, and both take confidence.
Any rules, concepts or philosophical guidelines only serve this aim. When all is said and done, the only question that matters is: is it sublime?4
Whatever you think of the above, make music.
Gus Lobban, 2022
1As well as non-pop music, all of which is inseparable from pop when considering pop's possibilities.
2The following is frequently attributed to Burt Bacharach: "The groovy thing about pop music is that it's wide open. Anything can happen." I'd love to know where he said it or if it's just made up.
3I don't mean just futuristic "tech", I mean any equipment.
4If you're not sure, don't worry. Sublime is our target, not our verdict.