In his latest release, Splashed City, Aiden Button brings a fresh touch to the lo-fi genre, building an ambient urban soundscape that feels both intimate and expansive. The piece, created entirely without loops or samples, showcases Button’s distinctive approach to composition, drawing from his diverse background in genres ranging from progressive rock to ambient film music.
Button’s choice to use the iconic Crystal Piano patch from the Roland JD-800 adds a bright, nostalgic warmth to the track, while a deep bassline drives the music forward. The song flows seamlessly, shifting between layers of sound that embody the grit and gentle chaos of city life, a theme that inspired the track’s evocative title.
Starting with smooth jazz chords, the piece evolves with a central break and subtle effects, leading to a climactic fusion of instruments that feels both spontaneous and meticulously crafted. Button’s production choices reveal his meticulous artistry, blending imperfections with intention, resulting in a track that feels both technically rich and emotionally raw.
With Splashed City, Button offers listeners more than background music; he creates an introspective space that invites a deeper engagement, leaving us eager for his upcoming projects.
Listen to Splashed City
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*Splashed City* has such an intriguing title. Can you share the inspiration behind the name and the song itself?
Really, it comes randomly. I loved the sound of this two words together.
What themes or messages did you aim to convey in *Splashed City*, and how do they reflect your personal experiences or worldview?
The funny thing is exactly this: I didn’t think of any ‘prepackaged’ message, but I just let the music flow. I wanted to experiment with the lo-fi genre, including some of my own compositional approaches that stem from my background as a composer.
Can you walk us through the creative process for *Splashed City*? How did the song evolve from its initial idea to the final version?
The compositional approach came from a chord sequence I played just for fun one evening with a bassist friend. We were experimenting with bass lines in relation to some smooth jazz chords. I immediately knew I wanted to turn that chord progression into a lo-fi track with a very prominent bass.
At that point, the track structure with the main loop was already in place. I knew I wanted to add a central break with a different chord progression, tweak the drum parts with a filter, and include some sweeps… I also wanted the track to have overlapping parts, so that each individual section could harmoniously connect with the others, allowing everything to play together in the finale. Then the rest was ‘just’ effects… lots of effects in the mixing and mastering stages
The lyrics paint a picture of urban life in an imaginative way. How did you approach writing the lyrics, and is there a particular story or image you wanted to capture?
Since there are no lyrics in the song, the title Splashed City just came to me for no particular reason… I was probably unconsciously thinking about city life, which can not only ‘splash’ you but also ‘crush’ you in its frantic rush. The rest is the magic of generative AI.
Was there a moment during the making of *Splashed City* that stands out to you as particularly memorable or challenging?
All the moments in the track are very interesting because they connect seamlessly with each other… My favorite melodic line is still the Crazy Flute, which colors the chords—especially the dominant one—with an altered jazz scale. As for the section, I prefer the moment after the break when all the instruments come together, and, with careful listening, you can perceive a drum delay that accentuates the flow of the track.
Did you collaborate with anyone for *Splashed City*, and if so, how did that influence the final track?
As I mentioned before, the only real influence was that evening with friends, although I have to admit the ideas came directly from me. I still want to thank my friend Luca Rancan for his support and inspiration.
Who did you work with for the production, and how did their input shape the sound of *Splashed City*?
It was a me, myself and I production 😀
What do you hope listeners will take away from *Splashed City* when they hear it for the first time?
I know it’s difficult to expect what I’m saying, as this type of track is mainly used as background music for studying or relaxing. I’d love for the listener to enthusiastically notice the various elements we discussed and, perhaps even through reading this interview, to gain a deeper understanding of the track
Have you had any surprising or interesting feedback about the song so far?
I have to say that this time many playlist curators and even some friends were drawn to the track… more than usual, and it seems to stand out more than my previous solo piano productions.
In what ways do you think *Splashed City* reflects your growth or evolution as an artist?
Splashed City is the final culmination of my exploration of digital music in the streaming market. All my previous work up until this point has served to enhance my musical skills. Now I feel ready to work on what truly interests me: my progressive rock album.
Does *Splashed City* set the tone for future projects you’re working on, or is it more of a standalone piece?
As mentioned before, it’s a stand-alone work, but at the same time, it creates a continuity that will lead me to apply what I’ve learned in my future projects.
What’s next for you? Do you have any upcoming releases or projects that you’re excited about?
Next year will be dedicated to the release of my album Shades of Keys. It will be a multi-genre album that gathers all my main influences and will be divided into four sections: progressive rock, orchestral, solo piano, and jazz and blues. I can’t wait!
