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Official Discography
1/1/2026
10/15/2025
8/8/2025
Projects, experiments, and writing.
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A new layer around released music: collect stems, reveal them, trade them, and forge them into songs and albums.
Read the full postThe music industry has changed how songs are distributed, but not how fans share in the value that forms around them.
Streaming made music instantly accessible. Social platforms made songs easier to spread. Royalty marketplaces created ways for rights holders to sell portions of future income. But for most listeners, music remains something they consume from the outside.
Stems introduces a different model.
Stems allows finished songs to be released as collectible digital components. These components, called stems, may represent vocals, drums, melodies, basslines, or other parts of a completed recording. Users can collect, trade, reveal, and forge these components into higher-level tokens representing songs and albums.
The purpose of combining stems is not to create the music itself. The music already exists. The purpose is to create a scarcity-based system around the music, where assembling songs and albums burns lower-level components, reducing supply over time and changing the market around the remaining pieces.
As more users forge stems into songs, fewer stems remain. As more songs forge into albums, fewer song tokens remain. This creates a natural system of supply reduction, collection strategy, and market pressure around the music.
Stems does not replace streaming, labels, or distributors. It adds a new layer around released music, one where fans can act within the market around songs they believe in: collecting, trading, forging, and shaping value over time.
A song is usually released as a finished product.
Listeners can stream it, share it, save it, or buy products around it. These actions help create cultural value, but they don't give listeners a role in the economic system surrounding the music.
Stems is built around a simple idea:
What if a released song could support its own market?
In Stems, a song is divided into tokenized components. These components do not replace the song itself. They represent parts of the song inside a market structure.
A user may hold a vocal stem, a drum stem, an unrevealed stem, or other components. Those stems may be traded individually, revealed over time, or combined with other required pieces to form a song token.
When stems are combined, the original components are burned. This reduces the supply of those components. If enough users are trying to build the same song or album, demand for specific pieces may increase while available supply decreases.
This is the core mechanic of Stems:
The result is not a new way to release music. It is a new way for released music to support its own collector market, where user action can change supply, demand, and value over time.
The music industry has gone through several major format changes.
Physical media gave listeners ownership of copies. Downloads made songs portable. Streaming made music instantly available. Social platforms turned listeners into promoters. Royalty marketplaces allowed some fans and investors to buy shares of future income from songs.
Stems builds on these changes, but takes a different approach.
Instead of selling only access, ownership shares, or passive royalty exposure, Stems creates a collectible system around finished music, where trading and forging affect supply, demand, and value.
This creates a different type of fan relationship.
A listener is not only asking:
“Do I like this song?”
They may also ask:
This turns music collection into an active process.
Stems is a platform for releasing finished music through collectible digital components.
The system has three core units:
The system is designed so that each upgrade reduces the supply of the lower-level tokens used to create it.
That burn mechanism is central.
It creates:
Stems is not only about owning a digital file. It's about collecting, trading, and forging music components inside a system designed to measure demand, reduce supply, and let value develop over time.
Stems are the base units of the system.
They may represent parts of a completed recording, such as:
A stem may have value because of:
Some stems may also include usage rights, depending on the artist’s terms.
A song token is created when a user combines the required stems for that song.
The song already exists as a released piece of music. The token represents a completed position within the Stems system.
For example, creating a song token may require:
When those components are combined, they are removed from circulation.
This makes the song token more valuable within the system while reducing the available supply of the stems used to create it.
The result is a natural supply shock:
Album tokens are created by combining song tokens.
Again, the album already exists as a finished body of music. The album token represents a higher-level position in the system.
Creating album tokens reduces the supply of song tokens, just as creating song tokens reduces the supply of stems.
This creates another layer of scarcity:
As the system matures, album tokens may offer greater access, rewards, status, or stronger claims to distributed revenue than lower-level tokens.
Stems may initially be released in an unrevealed state.
An unrevealed stem means the user does not immediately know which specific component they hold.
This matters because the system depends on incomplete information and market decision-making.
Users may choose to:
The unrevealed market creates an early phase of uncertainty. Once stems are revealed, the market begins to understand which pieces are common, which are rare, and which are needed to complete higher-level tokens.
This creates a market phase where uncertainty, discovery, and collector behavior influence demand before every component is revealed.
The burn mechanism is one of the most important parts of Stems.
In a normal collectible system, supply often stays fixed. In Stems, supply changes through user action.
When users combine stems into songs, the original stems are removed from circulation. When users combine songs into albums, the original song tokens are removed from circulation.
This creates a layered scarcity model:
This means value is not only based on rarity at launch. It can change based on how users behave after launch.
The system becomes dynamic.
A stem that seems ordinary at first may become important later if it is required for a song many users want to complete. A song token may become more valuable if it is needed to create an album. An album token may become valuable because it represents the final form of several burned assets beneath it.
The supply shock is not artificial. It is produced by user action.
Streaming gives listeners access to music.
Stems gives listeners a position within a collectible system around music.
A person can still stream the song normally. The music remains available. Stems does not restrict listening.
The difference is that listeners who want to go deeper can collect parts of the system surrounding the song.
Streaming answers:
“Can I listen to this?”
Stems asks:
“Do I want to take a position in the market forming around this?”
That difference matters.
Streaming measures attention.
Stems measures market conviction.
Royalty marketplaces generally begin with a finished song and allow people to buy shares of future royalty income.
That model is mostly passive.
A buyer purchases a share, waits for payments, and has limited interaction with the asset beyond holding it.
Stems is different because the system is interactive before revenue rewards are even considered.
Users can:
Revenue rewards are part of the system, but it is not the only source of value.
The main difference is this:
A royalty marketplace sells exposure to income.
Stems creates a system where collectors can define value, influence scarcity, and change the market over time through their actions.
In future versions of the platform, certain song or album tokens may be connected to revenue rewards.
This does not require every holder to be added directly to distributor accounts, publishing systems, or royalty collection platforms.
Instead, the platform may operate as a central coordination layer.
A simplified structure could work as follows:
Eligibility may depend on:
This makes the system easier to manage than splitting royalties directly across thousands of holders inside the existing distributor, publishing, and rights-collection systems.
The platform coordinates the revenue.
The tokens define eligibility.
The rules define distribution.
For artists, Stems creates a new release and monetization structure.
An artist can release music normally through streaming platforms while also creating a collectible system around that music.
This may allow artists to:
This is especially important for independent artists.
Many independent artists do not have label support, marketing teams, or traditional access to capital.
Stems gives them a way to test whether their music can generate real demand from both their audience and the broader market.
For listeners, Stems creates a more active relationship with music.
A listener can still simply stream the song. Nothing changes for casual fans.
But deeper fans may choose to:
This gives fans a role beyond attention.
They are not only helping a song grow by listening or sharing. They can also take action in the system surrounding that growth.
Stems creates market behavior around completion and scarcity.
Value may come from:
Because supply decreases through use, the market can change over time.
Together, these factors allow value to develop after launch as collector demand, completion difficulty, and supply reduction change the market.
This creates a system where the market is driven by user actions, not only by initial supply.
Fans already help create value in music.
They discover songs, share them, make videos, create memes, start trends, and bring attention to artists.
But most music platforms only measure that activity as attention.
They do not give fans a structured role in the value that forms around the music.
Stems gives that role a structure.
It does not ask every listener to become an investor. It does not require every artist to give away rights. It does not replace the normal music business.
It adds a new layer around finished music:
For artists, it creates a new tool.
For fans, it creates a more active role.
For the industry, it creates a new signal: not just who listened, but who cared enough to act.
Stems depends on real engagement.
The system only works if people do more than buy once. They must trade, reveal, forge, hold, share, or otherwise stay involved.
There are also legal and operational challenges, especially around revenue sharing, licensing, holder expectations, and rights language.
Stems should not promise guaranteed income, fixed returns, or automatic financial upside.
The platform must remain clear about what each token represents, what rights are included, and what benefits, access, or revenue eligibility each token may or may not provide.
Stems is a new way to build a market around finished music.
The songs already exist.
The albums already exist.
The music can still be streamed normally.
What Stems adds is a collectible system around that music.
Users can acquire components, trade them, reveal them, and forge them into higher-level tokens. Each combination reduces supply, creating scarcity through user action.
If the system works, the value of Stems does not come only from the music itself. It comes from the behavior around the music:
Stems is not trying to replace the music industry.
It is testing whether released music can support a system where fans do more than listen; they collect, trade, forge, and ultimately shape the value of the art over time.
Kyler Simzer is a narrator exploring sound and story. He has created hours of music and experimented with deep psychological states to push the boundaries of expression. His work is driven by an obsession with energy, sound design, and the stories that live in the subconscious.
Kyler Simzer’s current body of work moves through the hexology sequence: 000, O, 111, 222, 333, and 444.
The first three releases, 000, O, and 111, establish the foundation of the series: origin, return, and awakening. Each project stands on its own while forming part of a larger progression in sound, language, and identity.
222, the fourth chapter, is now released. The next chapters, 333 and 444, continue that structure forward. Together, the six releases form a larger arc of exile, revelation, and return.
weworkfortheo@gmail.com