One thing at a time
Yeah, splitting yourself I think is a luxury only established artists can afford. Everything you do at this point should gear towards working on one recognizable brand / sound. I’m in the same boat, I have lyrical stuff 10 years old still waiting for a decent recording, but I’m putting everything into dance / energy music now.
When it comes down to it, creating fans is about playing live shows. If the artist wants to become a professional, their service is endorphin release. Our job is simply to deliver an emotional kick to folk. The great entertainers are the ones who enjoy it the most, and therefore lead their audience down a path, allowing them to behave in a way that they’re constantly discouraged to do in everyday life. Now’s the chance to move, dance, release, enjoy. As entertainers, we have to create the live shows and master that scenario. The results are music, ticket and merchandise sales and awareness of your art.
As artists all of our endeavors can seem overwhelmingly huge. We’ve got, like, all these projects lurking in the corners and our mental environment can seem very busy at times. But to the general public you’re only as good as your packaging. The Twitter / Facebook hype is the scaffolding, but having a solid performance is the building. People will know when you’re all scaffolding and no building. To me, rehearsal is more important than recording, practice more important than newsletters. It sounds obvious but I’ve spent sooooo much time updating stuff online and designing flyers when I should have been in school, getting better at music itself, or at least on the phone to a friend making a real connection to someone without seeing dollar signs hovering above their heads.
Fish where there are none
I believe creating good music (and therefore demand for it) generally takes the artist by surprise. That random track you just put out for fun often trumps the one you’re carefully constructed as a hit. And your most valuable thing is what makes you unique. Even if you’re only planning on creating commercial music, it must be delivered / distributed / promoted in a way that nobody else is doing it. So making good music is a balance between being prolific enough to not take each individual release too seriously as an artwork, but sincere enough to stick ONLY to the sounds which inspire you personally. Done is better than perfect.
In a nutshell: stick with creating one sound if you want to get noticed but keep experimenting with multiple sounds if your artistic freedom is more important. Above all, put the actual audio experience first. The rest is just noise.