“v” is the first “slow” track I’ve ever composed. 💤🎹
It’s a Pop song with a conventional structure: [Verse–Chorus] (x2)–Bridge–Chorus (ABABCB). Harmonically, each section has its own key, and in terms of frequencies, I emphasized the use of low-end sounds in the verses and bridge (alongside a pad for sonic texture). The chorus gives more prominence to a melodic synth in a high register that interacts with the vocals. 🎤🔊
Rhythmically, the song is written in a ternary subdivision time signature and doesn’t use percussion. 🕰️❌🥁
The bass synth is percussive enough to carry the rhythmic weight of the composition.

✅ Elements that work well:
- The modulations flow smoothly with barely any abrupt changes. 🌊
- The dialogue between vocals and synthesizer in the chorus. 🗣️🎛️
- The bass acting as a percussive element. 🔊💥

⚠️ Elements that work less well:
- The production isn’t fully polished. 🧪
- The backing vocals don’t stand out. 🎶😶
- Some sections feel slightly cluttered. 🌀🔉

“c” is a mostly Pop track, though it has a touch of House. 🎧🏠
In terms of timbre, I tried to blend a 70s vibe with a 90s video game aesthetic. 🕺🕹️
It’s one of the simplest songs harmonically, with just one major harmonic shift in the modulating bridge. 🎼🔄
Interestingly, it’s currently the most successful track on SoundCloud—thanks in part to the amazing number of listeners I have in Vietnam (cảm ơn! ❤️🇻🇳)

✅ Elements that work well:
- The mix of retro and digital textures gives it a unique character. 🌀🎮
- The harmonic simplicity makes it very accessible. 🎵
- It’s connecting with listeners—especially in Vietnam! 🌏🔥
- The synths are super catchy. 🎛️🎯
- The revival vibe works well, and the track ends on a high note. 🚀🎶

⚠️ Elements that work less well:
- The final lift is nice, but doesn’t quite reach epic status. 😅
- The hi-hat in the bridge can feel a bit repetitive. 🔁

🎵 "a" is basically a pop song.
It’s the most conventional track on the EP, structured around two verses and two choruses, plus a contrasting final section. The verses revolve around four chords that repeat in the same order, while the chorus shifts to a different key, with two distinct parts: one that introduces the section, and another that prepares the modulation back into the verse.
✨ Special mention to Gabriel Porcel for his brilliant work on the rhythmic foundation of the chorus.

✅ What still works for me over time:
• The cymbal work 🥁
• The harmonic development in the chorus 🎶
• The production of the chorus base 🔊
• The pause before the final section and the lift it creates ⬆️

⚠️ What works less well:
• The final section could be stronger, more intense

“b” is the track with the most unconventional structure. 🎧
At first listen, it feels like a fusion of different sections in varying tonalities, all held together by the synthesizer and rhythmic base introduced at the beginning. But as you dive deeper and analyze it more closely, you’ll notice recurring synths that bring a sense of cohesion to the composition. 🔍✨
There’s also a deliberate twist in the verses. 🎼
Both stanzas are built from the same notes (the same “lyrics,” so to speak), but they’re altered in different ways, resulting in distinct sonic outcomes. This approach adds a layer of complexity and intrigue to the listening experience. 🎶🌀
Rhythmically, the song plays with genre boundaries. 🕺
It alternates between classic Pop foundations and House moments, even flirting with rhythmic patterns that vaguely evoke Trap—though notably, without hi-hats. 🏠🎵🚫🥁

✅ Elements that work well:
- The transitions between sections are smooth. 🌊
- The House part is cool. 🏠🎧

⚠️ Elements that work less well:
- The section right after the intro feels a bit too long. ⏳
- The vocal sound isn’t fully well-produced—neither in terms of tone nor volume. 🎤🔧

“f” is the least electronic track on the EP. 🎧
It’s a classic Pop song, but with a French touch that I believe comes from the accordion. 🪗✨
Structured as verse–chorus, it features a sophisticated harmonic development with Jazz-style turnarounds, and a chorus that gradually evolves into a fully electronic section—introduced almost abruptly, with only a hi-hat and a few effects as a bridge. ⚡🥁
Rhythmically, it’s written in a ternary subdivision time signature, something like a slightly slower waltz. 🎼🕰️
The melody acts as a guiding thread between the “French” and electronic parts, as well as through the various harmonic changes that unfold throughout the composition. 🎶🔗

✅ Elements that work well:
- It took a lot of effort to merge the two “souls” of the song, but I think it turned out really cool. 💡🎨
- The French part is very elegant, especially at the end. 🎩🇫🇷
- I love the accordion. ❤️🪗

⚠️ Elements that work less well:
- In my head, this track is sung by Dean Martin—and of course, when I hear myself, everything kind of loses part of its magic. 😢

“e” is a conventional Pop song, dressed in a Reggaeton rhythmic suit. 💃🎧 To soften the influence of this genre, the composition is enriched with Latin percussion, giving it a more Salsa-like flavor. 🪘🌶️ Structurally, it’s divided into two verses (which are not identical), a modulating bridge, and a chorus. 🧩🎼 Harmonically, the song plays with pure tonality in the verses and a modal touch in the chorus (Mixolydian, if I remember correctly). 🎶🌀 At the end of the track, I introduce my instrument: the trumpet. 🎺✨  ✅ Elements that work well: - It’s clearly Reggaeton, especially in the intro, but then it’s softened throughout, resulting in a mostly Pop track. 🎵🔁 - I love the dialogue between the synths and the vocal sample. 🗣️🎛️ - Overall, it’s a very cool track. 😎🎶  ⚠️ Elements that work less well: - It’s a very pleasant track, but not a hit.

🎸 "g" is a song inspired by Andalusian Rock from the second half of the 20th century.
🕰️ Rhythmically, it's written in a 5-beat meter that alternates between slow and fast beats on one hand, and two slow plus two fast beats if we consider the eighth note 🎼.
🎵 Harmonically, it is mainly based on two Phrygian modes: E Phrygian and A Phrygian, while the melody plays with altering or preserving the third degree of the Phrygian scale.
🎤 Melodically, several passages can be observed:
- In the first part, the vocal melody aims to evoke traditional Andalusian tunes 🌄.
- The synthesizer in the middle of the song pays tribute to palos of flamenco such as La Caña and El Polo 💃.
- The ending is typically pop 🎧, with handclaps that once again evoke flamenco and a harmonic structure built on a series of fifths 🎶


"Criatura" is the very first song I ever composed 🎶—even before starting the INAW project 🚀. It's also the most special track in this journey for several reasons:
- 📝 It's the only one with full lyrics, beautifully written by the Córdoba-born poet Juan María Prieto (La Bella Varsovia).
- 🎸 It's the only track featuring another musician: Gabriel Porcel not only led the production but also recorded the guitar parts.
- 🌟 And finally, it's the most mainstream song I've created so far


Criatura

"DAGA" is the second track I've composed 🎧, but unlike Criatura, this one is more experimental and intense for the listener—right from the start with its noisy rhythmic base 🔊.
Gabriel Porcel once again leads the production, capturing the spirit of a song that isn't easy due to its harmonic complexity and constantly shifting sections 🎛️.
It can also be considered the first true INAW song, as it's the first one without lyrics 🎶

DAGA

🎧 Hi, I'm Darío Sánchez
I'm the person behind I'm Not A Writer (INAW).
This project was born from my need to make music. It's basically electronic pop, but within that style I try to use less conventional musical tools—playing with structure, harmony, and rhythm in ways that feel interesting to me.
🎙️ The voice is part of the sound, not the center of a story. I could have used humming as a resource, but I chose to sing the notes instead, because it's a language I feel comfortable in. I'm not trying to tell anything specific—just to create a musical experience that works within the language of pop.
📝 Each track comes with a short description of what I think works better and what doesn’t as much. Often, I only notice these elements over time, and I think it's worth sharing that process.

🙏 I just want to thank two people who are important to this project:
Gabriel Porcel, who has produced some tracks and always shares his thoughts on how each song develops;
and Enrique López (Instagram), illustrator and creator of the cover art.

This is INAW. I'm not a writer, but I make music.

I'm Not A Writer

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