A bass-led neo-soul project. 10 original tracks. Built for streaming, social-media, vinyl, and select live dates.
Lowtones is my first fully original music project — a bass-led neo-soul record built collaboratively with musicians I've played with for years, inspired by Robert Glasper's Black Radio albums, Thundercat, and Yussef Dayes. After 20+ years as a session bassist supporting other artists, this is the first time I'm stepping into the bandleader role..
The project has a consistent core band — Alex Hooi on guitar and production, Martina Ng on keys, Zidann bin Zalizan on drums — with a rotating cast of featured vocalists and guest collaborators on each track. Featured artists include Shak, Dita Jacob, NyaLi, Trumpet Z, and Erik Hargrove, the drummer best known for his work with James Brown and Bootsy Collins.
"After playing other people's music around the world for most of my life, this is the record I needed to make for myself — and I've put together the right people to make it properly and realize my vision."
The working title of the album Lowtones vol. 1. The name is a play on the low-end of the bass and my nickname Tones, short for Tony. The vol. 1 framing signals that this is the beginning of a body of work, not a one-off project.
Neo-soul with jazz-adjacent sensibilities. Bass-led but song-focused. Sophisticated without being inaccessible or alienating. The production/composition approach separates the bass into multiple layers — a foundational session track that locks with the drums, and ear candy layers of melodic top lines and chordal accompaniments that gives the bass its own musical voice within the arrangement without crowding the song.
All 10 songs are written and demoed. The band has tracked a full demo version of the lead single, Moving Up. Individual final tracking has begun as of April 2026. Anticipating the release of multiple singles before the full album release in 2027.
Distributed via DistroKid under a US address. All major DSPs. Spotify editorial pitch for each single. Playlist pitching via SubmitHub and Groover for neo-soul / jazz-adjacent curators. Primary audience built online — Singapore, United States, Japan, and wherever the music finds people.
First pressing of 100–300 units. Vinyl order placed late-2026 for Q2 2027 delivery alongside album release. Local sales and online. A physical object that makes the project real and collectable for supporters.
No touring ambitions. One or two intentional Singapore shows — album launch event with guest artists, possible showcase dates playing instrumentals. The live show serves the record, not the other way around. Quality over frequency.
Continue series of bass-centric/collaborative content on Instagram and Youtube. Singapore, US and Japan are a specific target markets. Japanese language proficiency opens doors. The music sits naturally in Japan's neo-soul and jazz listenership. Festival and one-off dates around Asia are the live ambition if the streaming presence builds. Pitch for sync licensing.
I'm financing this project independently and intend to keep it that way. I'm not looking for a label deal or to give up creative control. What I do want is to do this properly — with the right strategic thinking behind the release and opportunities that may emerge, the right IP protection, and creative input from trusted individuals.
US trademark filing for "Lowtones" in Class 41 (entertainment services / sound recordings). Intent to Use application before first release. Guidance on master ownership structure across collaborators.
Simple, fair agreements with band members (Alex, Martina, Zidann) and featured artists (Shak, Dita, NyaLi, Trumpet Z, Erik Hargrove) clarifying contribution, credit, and any revenue sharing. Clean from the start. Consider DistroKid Splits model.
Release strategy, Spotify editorial approach, market entry, festival pitching.
Confirming the right approach for a US citizen distributing from Singapore — tax implications, royalty collection, COMPASS / MRSS registration considerations given my Singapore employment situation.
When the time is right — where and what. Connections in the Asian festival circuit, understanding of what a regional act needs to demonstrate to get on those stages.
Longer term — the music sits naturally in multimedia contexts. Understanding how to position it for sync opportunities once the catalogue is built.
You know my playing and who I am as an individual, and you know the Singapore market. For the first time, the music I'm working on is mine. The songs, the vision, the aesthetic, the collaborations — all of it starts from my creative instinct rather than supporting someone else's.
"I want to do this right from the start — clean IP, fair agreements, smart release strategy. Getting the infrastructure right now means the creative work can stay the focus."
I'm not looking to quit my job or go on world tour. I'm a school music teacher in Singapore and a father of two. But this project is my primary creative focus and I want to invest in it properly — which is why I'm coming to you before the first single is out rather than after.