Bio

Aiden Button is a dynamic and versatile artist, celebrated as a multi-genre composer, producer, and keyboard performer. His journey with music began at the tender age of four, improvising and singing along with the radio without any formal scores. Aiden’s dedication and talent led him to graduate with top honors in Harmony, Counterpoint, Fugue, and Classical Composition from the prestigious Conservatorio A. Steffani di Castelfranco Veneto (TV).

Before releasing music as a producer, Aiden was involved in various musical projects that shaped his artistic journey. The most significant of these was “Stargate,” a progressive metal band project that initially started as a Dream Theater cover band but later evolved into creating original music, resulting in the 2012 album The Power Within.

In addition to “Stargate,” Aiden engaged in several other projects. He played in the “Biste Boys,” a cover band focusing on ’70s and ’80s hits, and “I Urop,” a Europe cover band. He also founded and was the lead singer in two bands: Seventh Fear (a metal cover band inspired by Metallica, Iron Maiden, and Judas Priest) and Fallen Angel (a glam cover band featuring music from Bon Jovi, Scorpions, Skid Row, and more).

Today, Aiden continues to evolve his artistry, delving into the realms of jazz, rock/metal progressive, film/ambient music, keyboard performance, and singing. His music offers a rich tapestry of experience and emotion, designed to connect with listeners on multiple levels:

Universal Understanding at First Glance:
“Music is a subjective language. My works are like blank canvases, allowing listeners to paint their own emotions onto them.”

Delving Deeper into the Inner Side:
“Through what I like to call musical composition tips or tricks, I aim to reveal the creative processes behind my music, inviting you to explore the reasons and inspirations driving my work.”

Aiden’s compositions, achieved notable recognition when they ware featured on various streaming services’ Editorial Playlists.

So,
look into the mirror,
and embark on a journey to discover both yourself and Aiden through his music.

Progressive Rock: My First Musical Love

Progressive rock was my first musical love—the genre that ignited my passion and made me realize that music was my true path. It wasn’t just about getting better; it was about immersing myself in the craft, finding my voice, and most importantly, having fun along the way.

It all started in the early 2000s when a classmate introduced me to the legendary Liquid Tension Experiment and Dream Theater’s Metropolis Pt. 2: Scenes from a Memory. Like most people, I was used to the conventional structures of rock and pop—intro, verse, chorus, bridge. But progressive rock? It blew my mind. The genre’s versatility, its virtuosity, and the extended musical forms that pushed boundaries were unlike anything I’d heard before. It drew from a wide array of styles, sometimes even fusing genres to create something entirely new.

As I continued exploring, I discovered Symphony X and later delved into the groundbreaking works of past prog giants like ELP, Gentle Giant, Yes, and Genesis and many more. By then, my mind had opened to endless creative possibilities.

Now, I’m returning to my roots with renewed passion, working on an album that will feature three progressive tracks. I can’t wait to share this journey with you. Stay tuned!

The Piano: Rediscovering an Old Friend

Throughout my conservatory studies, the piano has always been an important instrument, even though I’ve personally gravitated more towards synthesizers, organs, and Rhodes. But in 2020, when the world was confined to their homes due to COVID, I not only delved deeper into digital music distribution but also stumbled upon something that truly resonated with me—a felted piano sound.

This unique sound is achieved by placing microphones close to the piano’s hammers after muting the strings or covering the inside with a blanket or cloth. The result? A transformed piano sound, particularly for upright pianos that tend to have a slightly “bellish” tone. You can hear the imperfections—the hammer noise, the subtle mechanical quirks—that give the sound such character and depth.

Fascinated by this discovery, I knew I had to experiment with this style. I’ve composed several pieces, some with the clean piano sound and others with the felted effect. Some tracks are minimalistic, perfect for streaming playlists, while others delve deeper into harmonic complexity and counterpoint.

Enjoy the journey!

Orchestral and Cinematic Music: A Fascination with Soundscapes

Orchestral music and cinematic scoring have always fascinated me. My studies have given me a deep understanding of the orchestra, which I see as a magical instrument—a single entity composed of countless timbres and gestures. Mastering this vast array of sounds can be quite challenging, and simply layering tracks in overdub can lead to disastrous results. When composing for an orchestra, it’s essential to think holistically about what each instrument needs to do at any given moment.

It’s a captivating process. Each instrument has its own unique characteristics—some can execute rapid runs, while others cannot. You have agile instruments like the strings and more grounded ones like the tuba. Some dominate the soundscape, like the piccolo and trumpet, while others, like the horn, can work subtly in the background, tying everything together.

Even when I recreate orchestras using computer programming, I always ensure that the parts are playable and consider how real musicians would interpret them. I’ve composed and programmed several pieces already, and who knows—maybe one day I’ll score music for a film! 

Lo-fi: Finding Beauty in Imperfection

Another genre that has captured my interest is Lo-fi. After exploring felted piano music and ambient sounds, I found myself drawn to this fascinating style. Today, we have incredible tools at our disposal for processing audio through DAWs—just a computer, some software (even freeware), and you can create a studio setup that outperforms what was available to the producers of past mega-hits.

What’s curious about Lo-fi is that it’s a genre heavily processed by modern systems, yet it deliberately introduces imperfections—tape hiss, poor audio quality, vinyl crackles—to emulate the sound of old, malfunctioning tapes. It’s about making things sound intentionally “bad,” using an impressive array of plugins.

After working on piano and orchestral productions, Lo-fi became a great way for me to refine my mixing and mastering skills, particularly in handling kicks and drums in my compositions. It’s a genre that taught me a lot about balancing the imperfections with the art of sound design.

Jazz: The Missing Piece

For musicians who master classical and tonal languages, jazz eventually becomes an inevitable interest. Improvisation has always been a passion of mine, but jazz offers something even deeper. While I’m not particularly drawn to bebop or hard bop, jazz—especially when it’s not too extreme—is still a tonal language, yet with a vastly expanded palette of colors.

Its extended harmonies can lead to sudden mode shifts, key changes, and riffs that seem to soar into other worlds, all while staying grounded in the underlying structure of the changes. It’s a rich, complex world that I’m eager to explore further, and it’s an expressive language that is essential to my music.