Glossy pop meets DIY collage:
Ron the Ron’s chaotic, RESTLESS sound
Glossy pop meets DIY collage:
Ron the Ron’s chaotic, RESTLESS sound
Ron the Ron is Ron Seidel, a New Jersey songwriter and producer who builds songs on guitar, piano, synths, and drums, then flips them with samples and borrowed voices. His music lives somewhere between glossy pop sheen and scrappy DIY collage.
Ron the Ron is Ron Seidel, a New Jersey songwriter and producer who builds songs on guitar, piano, synths, and drums, then flips them with samples and borrowed voices. His music lives somewhere between glossy pop sheen and scrappy DIY collage.
His second solo album, Four Messages (Margot Rita Recordings), was mastered by Alberto De Icaza, mixed partly by Hanan Rubenstein, and shaped by mentors David Greenbaum and Ed Fuhrman.
The record ranges from the surreal (Beg, sung in languages Ron doesn’t speak) to the bittersweet (Six Months, Seen Clearer), closing with Bridge Morale, where James Baldwin’s sampled voice reminds us: “Your suffering is your bridge.”
Shinier, stranger, and more emotional than his first effort, Four Messages is over-polished, undercooked, deeply unserious — and somehow still heartfelt.
His second solo album, Four Messages (Margot Rita Recordings), was mastered by Alberto De Icaza, mixed partly by Hanan Rubenstein, and shaped by mentors David Greenbaum and Ed Fuhrman.
The record ranges from the surreal (Beg, sung in languages Ron doesn’t speak) to the bittersweet (Six Months, Seen Clearer), closing with Bridge Morale, where James Baldwin’s sampled voice reminds us: “Your suffering is your bridge.”
Shinier, stranger, and more emotional than his first effort, Four Messages is over-polished, undercooked, deeply unserious — and somehow still heartfelt.
BPM
BPM
96
96
TRACK 1
TRACK 1
KEY
KEY
A
A
Cyclical, sticky, both euphoric and bittersweet.
It’s about the thoughts you can’t shake.
Cyclical, sticky, both euphoric and bittersweet.
It’s about the thoughts you can’t shake.
Cyclical, sticky, both euphoric and bittersweet.
It’s about the thoughts you can’t shake.
BPM
BPM
124
124
TRACK 2
TRACK 2
KEY
KEY
Dmin
Dmin
A surreal, multilingual sample collage — playful, hypnotic, and strange in the best way.
I don’t speak the language, but my mother-in-law swears it’s the best one.
A surreal, multilingual sample collage — playful, hypnotic, and strange in the best way.
I don’t speak the language, but my mother-in-law swears it’s the best one.
A surreal, multilingual sample collage — playful, hypnotic, and strange in the best way.
I don’t speak the language, but my mother-in-law swears it’s the best one.
TIME
TIME
3:27
3:27
STEMS
STEMS
BPM
BPM
128
128
TRACK 3
TRACK 3
KEY
KEY
G
G
Chasing the feeling of being free and in control.
Never gonna calm down…
Chasing the feeling of being free and in control.
Never gonna calm down…
Chasing the feeling of being free and in control.
Never gonna calm down…
BPM
BPM
120
120
TRACK 4
TRACK 4
KEYS
KEYS
C & F
C & F
Chasing payback & realizing you lost the plot.
Revenge as spectacle, not outcome.
A co-worker digs it.
Chasing payback & realizing you lost the plot.
Revenge as spectacle, not outcome.
A co-worker digs it.
Chasing payback & realizing you lost the plot.
Revenge as spectacle, not outcome.
A co-worker digs it.
BPM
BPM
128
128
TRACK 5
TRACK 5
KEY
KEY
D
D
Pop with an undercurrent of casual love.
My wife likes this one.
Pop with an undercurrent of casual love.
My wife likes this one.
BPM
BPM
160
160
TRACK 6
TRACK 6
KEY
KEY
G
G
A song about separation and intensity.
My guitar teacher’s favorite track.
Written on guitar, turned into MIDI piano.
A song about separation and intensity.
My guitar teacher’s favorite track.
Written on guitar, turned into MIDI piano.
TIME
TIME
3:00
3:00
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
STEMS
STEMS
BPM
BPM
145
145
TRACK 7
TRACK 7
KEY
KEY
C#
C#
My 12-year-old cousin’s pick. Cool second half!
A better arrangement than most.
My 12-year-old cousin’s pick. Cool second half!
A better arrangement than most.
TIME
TIME
3:22
3:22
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
STEMS
STEMS
BPM
BPM
140
140
TRACK 8
TRACK 8
KEY
KEY
C
C
Fractured lyrics layered into a dizzying collage.
My co-worker Ed Kim's favorite.
Fractured lyrics layered into a dizzying collage.
My co-worker Ed Kim's favorite.
Fractured lyrics layered into a dizzying collage.
My co-worker Ed Kim's favorite.
TIME
TIME
2:54
2:54
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
STEMS
STEMS
BPM
BPM
96
96
TRACK 9
TRACK 9
KEY
KEY
G
G
A bittersweet breakup track.
Best acoustic guitar part I’ve written.
A bittersweet breakup track.
Best acoustic guitar part I’ve written.
A bittersweet breakup track.
Best acoustic guitar part I’ve written.
TIME
TIME
2:33
2:33
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
MIXED BY HANAN RUBINSTEIN AT DAXXIT SOUND STUDIOS
STEMS
STEMS
COMING SOON
COMING SOON
BPM
BPM
120
120
TRACK 10
TRACK 10
KEY
KEY
B
B
Obsession hiding vulnerability.
Don’t worry, it’s gonna be alright.
Obsession hiding vulnerability.
Don’t worry, it’s gonna be alright.
Obsession hiding vulnerability.
Don’t worry, it’s gonna be alright.
TIME
TIME
3:08
3:08
STEMS
STEMS
COMING SOON
COMING SOON
BPM
BPM
128
128
TRACK 11
TRACK 11
KEY
KEY
C
C
A cycle of heartbreak and self-repair.
Love parts of this track. Good morning!
A cycle of heartbreak and self-repair.
Love parts of this track. Good morning!
TIME
2:39
2:39
STEMS
COMING SOON
COMING SOON
BPM
BPM
145
145
IN 6/8
IN 6/8
TRACK 12
TRACK 12
KEY
KEY
A
A
A track about misplaced longing and letting go.
Don’t chase something that’s not chasing you.
A track about misplaced longing and letting go.
Don’t chase something that’s not chasing you.
A track about misplaced longing and letting go.
Don’t chase something that’s not chasing you.
TIME
2:11
2:11
STEMS
COMING SOON
COMING SOON
BPM
BPM
128
128
TRACK 13
TRACK 13
KEY
KEY
C
C
A meditation on resilience and empathy.
The record stops joking and takes a breath.
A meditation on resilience and empathy.
The record stops joking and takes a breath.
A meditation on resilience and empathy.
The record stops joking and takes a breath.
MAKING OF THE ALBUM ART
MAKING OF THE ALBUM ART
The artwork for FOUR MESSAGES began with the number itself. I wanted the idea of “four” to be more than just a title; it became a visual anchor. From there, I expanded the concept: each of the thirteen songs would get its own logo, a kind of miniature emblem that captured its personality.
I built everything in Figma, working like a collage artist. The icons all came from The Noun Project, a global library of symbols created by artists around the world. I reworked, normalized, and recolored them into a retro, neon-inspired style—bright outlines, layered fills, and playful contrasts—so that the logos feel like glowing stickers from the same universe.
Typography gave the project its voice. The album title FOUR MESSAGES and all the song names are set in Paint Factory, a bold, hand-drawn typeface by Dan at SimpleBits, giving them grit, texture, and a sense of raw energy. The artist name “RON THE RON” and the year 2025 are set in his Ships Whistle typeface, which adds a lighter, almost whimsical counterbalance.
Together, the elements feel both homemade and universal: a collection of song-logos gathered around one central message, radiating color and rhythm like a mixtape of bright signals.
The artwork for FOUR MESSAGES began with the number itself. I wanted the idea of “four” to be more than just a title; it became a visual anchor. From there, I expanded the concept: each of the thirteen songs would get its own logo, a kind of miniature emblem that captured its personality.
I built everything in Figma, working like a collage artist. The icons all came from The Noun Project, a global library of symbols created by artists around the world. I reworked, normalized, and recolored them into a retro, neon-inspired style—bright outlines, layered fills, and playful contrasts—so that the logos feel like glowing stickers from the same universe.
Typography gave the project its voice. The album title FOUR MESSAGES and all the song names are set in Paint Factory, a bold, hand-drawn typeface by Dan at SimpleBits, giving them grit, texture, and a sense of raw energy. The artist name “RON THE RON” and the year 2025 are set in his Ships Whistle typeface, which adds a lighter, almost whimsical counterbalance.
Together, the elements feel both homemade and universal: a collection of song-logos gathered around one central message, radiating color and rhythm like a mixtape of bright signals.
The artwork for FOUR MESSAGES began with the number itself. I wanted the idea of “four” to be more than just a title; it became a visual anchor. From there, I expanded the concept: each of the thirteen songs would get its own logo, a kind of miniature emblem that captured its personality.
I built everything in Figma, working like a collage artist. The icons all came from The Noun Project, a global library of symbols created by artists around the world. I reworked, normalized, and recolored them into a retro, neon-inspired style—bright outlines, layered fills, and playful contrasts—so that the logos feel like glowing stickers from the same universe.
Typography gave the project its voice. The album title FOUR MESSAGES and all the song names are set in Paint Factory, a bold, hand-drawn typeface by Dan at SimpleBits, giving them grit, texture, and a sense of raw energy. The artist name “RON THE RON” and the year 2025 are set in his Ships Whistle typeface, which adds a lighter, almost whimsical counterbalance.
Together, the elements feel both homemade and universal: a collection of song-logos gathered around one central message, radiating color and rhythm like a mixtape of bright signals.
Designer
Designer
Designer
Tool
Tool
Tool
Icons
Icons
Icons
Special thanks to the global community of icon designers whose work inspired the logos for each track. Sorry to anyone I missed!
Special thanks to the global community of icon designers whose work inspired the logos for each track. Sorry to anyone I missed!
Special thanks to the global community of icon designers whose work inspired the logos for each track. Sorry to anyone I missed!
Ginevra Franchi (IT)
Ginevra Franchi (IT)
Ginevra Franchi (IT)
Widi Mahrunnisa Pratiwi (ID)
Widi Mahrunnisa Pratiwi (ID)
Widi Mahrunnisa Pratiwi (ID)
Olena Panasovska (UA)
Olena Panasovska (UA)
Olena Panasovska (UA)
inezza ardelia jassmine (ID)
inezza ardelia jassmine (ID)
inezza ardelia jassmine (ID)
About this site
About this site
Builder
Builder
Builder
Tool
Tool
Tool
Fonts
Fonts
Fonts
Icons
Icons
Icons
THANK YOU
THANK YOU
First, to Dana, Margot, and Trio, the true A&R team behind Ron the Ron. Thanks for the love, patience, and reality checks.
To my parents, family, and friends: thank you for cheering me on when the music was rough around the edges.
First, to Dana, Margot, and Trio, the true A&R team behind Ron the Ron. Thanks for the love, patience, and reality checks.
To my parents, family, and friends: thank you for cheering me on when the music was rough around the edges.
First, to Dana, Margot, and Trio, the true A&R team behind Ron the Ron. Thanks for the love, patience, and reality checks.
To my parents, family, and friends: thank you for cheering me on when the music was rough around the edges.
To the mentors who shaped me:
To the mentors who shaped me:
To the mentors who shaped me:
Ed Fuhrman, who taught me that not every chord has to be a giant six-string bar chord (sometimes less really is more).
David Greenbaum, for perspective and encouragement.
Chris Hawkins and Paul Scott, who taught me that the drummer’s job is to serve the song — wisdom I didn’t always manage to follow here.
Ed Fuhrman, who taught me that not every chord has to be a giant six-string bar chord (sometimes less really is more).
David Greenbaum, for perspective and encouragement.
Chris Hawkins and Paul Scott, who taught me that the drummer’s job is to serve the song — wisdom I didn’t always manage to follow here.
Ed Fuhrman, who taught me that not every chord has to be a giant six-string bar chord (sometimes less really is more).
David Greenbaum, for perspective and encouragement.
Chris Hawkins and Paul Scott, who taught me that the drummer’s job is to serve the song — wisdom I didn’t always manage to follow here.
To the collaborators: Alberto De Icaza, whose mastering gave these tracks clarity and punch, and Hanan Rubenstein, whose mixing brought balance and texture to the songs. Their craftsmanship turned rough ideas into something finished and alive.
To the unseen voices: the singers and musicians from Splice whose beautiful art gave life to these collages.
To my co-workers past and present: thanks for listening when the music was still half-baked, and for not walking out of the room.
And to ChatGPT, for helping turn tangled thoughts into clearer words.
Above all, thanks to everyone who listens. This music exists because you let Ron be Ron.
To the collaborators: Alberto De Icaza, whose mastering gave these tracks clarity and punch, and Hanan Rubenstein, whose mixing brought balance and texture to the songs. Their craftsmanship turned rough ideas into something finished and alive.
To the unseen voices: the singers and musicians from Splice whose beautiful art gave life to these collages.
To my co-workers past and present: thanks for listening when the music was still half-baked, and for not walking out of the room.
And to ChatGPT, for helping turn tangled thoughts into clearer words.
Above all, thanks to everyone who listens. This music exists because you let Ron be Ron.
To the collaborators: Alberto De Icaza, whose mastering gave these tracks clarity and punch, and Hanan Rubenstein, whose mixing brought balance and texture to the songs. Their craftsmanship turned rough ideas into something finished and alive.
To the unseen voices: the singers and musicians from Splice whose beautiful art gave life to these collages.
To my co-workers past and present: thanks for listening when the music was still half-baked, and for not walking out of the room.
And to ChatGPT, for helping turn tangled thoughts into clearer words.
Above all, thanks to everyone who listens. This music exists because you let Ron be Ron.
