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Comments
@Igneous1 Nice surprise to hear you back Sir Formbank. Glad you didn't leave it too long as I missed your Gadget glory! It's comforting to press play and immediately hear/know that you're back and showing us your ample musical skills. You know from my feedback on your previous entries that I rave on about how, when and where you use/change time signatures in a 3/4 minute song. It's what I look forward to. It sticks out and always supplies an edge....to tantalise the nerve endings.
I haven't got Gadget.....do you have to program the drums yourself or are there patterns to slot into a song? Whatever, you've an authentic drum sound going on there. Enjoyed that sound from 1.07 to 1.16. Throws some dark textures into the pot. Followed immediately by what sounds like a couple of bars of Ian Anderson flute work! Excellent. The clever build up in intensity from 1.40 to 2.10 and those "aah's" work so well.
New bass to finish off with as well? Yumsville! Classy stuff as usual.
@RedSkyLullaby A perfect 1 minute trailer for what to expect to hear on your new album. When's release day? An eerie, not from this world experience that leaves me wanting to hear more. That's the point I suppose, and it worked on me.
"Majestic and beautiful, completely indisputable" is a fabulous line and sums up your brief teaser. I like the slight distortion on the vocals. It adds to the celestial, ethereal feeling I get from your lure. Looking forward to listening to the 33 and a third version.
Thinking about death lately (no need to reach for the phone, more of a philosophical line of inquiry). And thus this: In The End Grace. I capitalized Grace in case she's a woman I've yet to meet, but I suspect it may be another matter entirely.
Well some guys simply like to turn and party. You're certainly doing that with this track and nothing wrong with that!
With a decent pair of headphones, running through my latest purchase, your tune sounded pretty full and there were great little incidental sound effects along the way. I didn't find the hi-hats intrusive but I could hazard a guess that on a more limited playback system with reduced frequencies, that they might be more strident and the bass might go unheard as it is pretty low.
Nice song to enjoy with a few beers on the beach.
Have to agree with the other commenters, great tune that really skips along at a great pace and has a great uplifting feel but.. really frustrating that I can't make out most of the vocals as the ones I do hear, sound rather delicious. I would add that I don't think it is just a matter of volume. In order to make the vocals stand out you should think about how you create space around them. To my ears, it sounds like they are fighting with the plucky string sounds too much in frequency range and timing. As the vocals are subdued and half sung you might also think about compressing them a bit more to raise the volume a little. Just be careful not to take the life out of these vocals.
Thinking about death you produced your poppiest, catchiest song yet. I'd like to hear the radio edit where you ditch the first half and start with a tiny snippet of Amazing Grace and kick straight into this triumph of a pop song. But this is the album version so it's the one we will discuss.
The first passage with one of your spoken word poems is obviously going to draw comparisons with Mr Waits but I do think, although it is close to some of his work, you are carving your own space and it is an enjoyable short view into someone's life. Your pieces do manage to speak with some degree of authenticity which is no mean feat either.
The first time I listened through and the beats came in over Amazing Grace, I immediately thought you were attempting some kind of Coldcut track. Not sure what is was that triggered them specifically. What you give is instead is a beautifully simple pop song, nearly in Paul Simon territory. Neither the Paul Simon nor simple is a criticism, I mean the good side of both.
I do have a few minor criticisms. I have never looked that double tracking effect you put on your voice, I realise that is 'toast', as you might put it. It just grates for me. Your singing in the song section is showing much greater confidence and some improvement in technique. It does still flutter in and out a bit and could with being a little stronger. For processing you might try adding more compressors, rather than turning up the compression, as one might be tempted to do. Adding compression several times in small amounts can add a more pleasing shape to the sound.
Other than that, I think you've created a minor classic. I would like to hear a radio version and it would suit you to record a vocal where you 'go for it' a bit more towards the end. This is the kind of song that would suit you've giving it a bit more welly.
@Jocphone Thank you for a generous and very fair review. Little to disagree with in all of that. I should, for the matter of clarity/honesty point out that the spoken introduction is not me, but Charles Bukowski (and thus the line later 'Chuck Buck died of a swollen liver...'). I am not convinced about Chuck as a poet, but I am as regards a personality of A Certain Type and especially one who so consistently farted in the church of precious poetry etc. A good thing.
The music/backing for his piece '35 Seconds' was a piece of free play on iM1 which I am determined to demonstrate (at least to myself) is not just a cheese machine as some consider it. Thereafter the second part was inspired in equal parts by Chuck, Death and a line I developed playing with the new VoxSyn, and was also determined to try and find a place for it beyond the more obvious places etc.
The mix is very rough, I'll grant you that, and the singing was an afterthought of barking out words written in my notebook. Sloppy as it is in plenty of places I have been feeling stolid in the song-writing department of late and have decided that I need to get some more spontaneity back into my SOTMC efforts before I slide down into 'just making something tidy and ticking the box'. Thanks again.
@theconnactic that's a crazy fusion of 60s jazz with modern sounds, and the squealing lead sounds like it's about to start playing "Apache" before veering off into a different melodic direction. Great guitar playing as usual, and another interesting sonic exploration.
@Igneous1 that was an enjoyable piece of downtempo electronica: chilled out sounds, ear-catching melodies (and counter-melodies), and just the right mix of repetition and evolution to keep me interested throughout.
The fretless bass blended in seamlessly with the rest, which definitely wouldn't have been the case if I was playing a fretless bass against a quantised and pitch-perfect backing
@RedSkyLullaby It's very rare that I get to say this, but your track is too short
I'm just getting into it and it stops.
Cool spoken sample, and the backing gives it a delicious edginess. Dark and mysterious, but over too soon.
@crouchie the vocal is too quiet here, makes it hard to follow and enjoy the track, which is a shame as I like the melody and the delivery/performance. It's a bit of a weird mix really because the only part that is loud is the hi-hats. I would bring them down a bit and bring the voice up a lot.
Other than mix issues I really like the tune, love the weird vocal fills/loops and the synths, it's dark and edgy and right up my street. It's a really good track that could really shine with a few mix tweaks.
@aaronpc That's a delightful bit of whimsy that is right up my street. Thanks for posting the lyrics on SC, they really added to my enjoyment of the song.
I love the way that everything you do has that stamp of individuality on it, everything about this track is quirky and charming and profoundly original. Great melodies as well. A lot of fun listening to this.
Hi
My first contrbution to this link.
Drums : pop kit cubasis
Bass: gadget madrid
Synth pad: morning pad cubasis
Guitars: ampkit
Piano:korg module ivory expansion.
I hope you like it!
Well it's a good job because I enjoyed all the parts that were from your own hand. I did particularly like the song that emerged but would savour it with a bit more climax. I do see how that last phrase could be deemed 'obvious'.
Also, I noticed that your license to claim ignorance in recording matters has expired. Would you hand it back in at the office at your earliest convenience.
You are too kind, but not entirely right. I struggle with the recording end. Have little understanding and no patience; a poor combination. I found/ find I spend a disproportionate of time fiddling with aspects of 'sound' when I am really interested in discovering the 'song'. The grand benefit (for me) of SOTMC is that with one or two exceptions most of the things I have been forced to pull the trigger on are now 'songs', albeit in need of further work. I imagine/hope that I will revisit them, perhaps with the force-multiplier of the right collaborator(s). We'll see.
Thanks Richard. I did try something different when I "mastered" it (if that's what you'd call me throwing ff plug ins at it) and I don't think it really worked, but it's always good to have a go. Glad u like it otherwise. Cheers
Thanks, Richard! Love the comments. Now if I can just get the lyrics above water so you don't have to reach for your mouse. Here is a remix in which I tried to make more space for the vocals, especially in the chorus. I'd like to hear if it youz lugs can make out the words yet.
I caught sight of your green fleece
Outside of the Freddies*
I hollered "Hey! Wait there, Curly!"
But you were in a hurry
Didn't hear me
I saw the flash of your watch chain
As you jumped down the flood drain
Then I knew you were headed for the park
If I got there before dark I could see…
You always said
The best way to catch rabbits
Is to sit very still
And pretend to be edible
I got there just as the moon peaked
Up over the elm trees
I thought I saw you duck behind a tree
But it turned out to be me
Water reflecting
I gave up and I sat down
Cross legged with my hands out
That's when I heard something sniffing at my collar
I reached out with a holler, I could feel…
You always said
The best way to catch rabbits
Is to sit very still
And pretend to be edi…
You always said
The best way to catch rabbits
Is to sit very still
And pretend to be edible
*Fred Meyer is a supermarket chain in the NW USA.
@Jocphone Thanks for the comments, too. I wanted to ping you since you had more specific advice regarding the muddle. Hope my changes were what you were hoping for.
You too @theconnactic @TyburnTech @JohnnyGoodyear
@AlexB great song man I liked it a lot. It would have nice to hear some of that guitar playing without the vocal over it.
@aaronpc I am loving your work. Thanks for sharing.
Here the song without vocals:
https://www.dropbox.com/s/bw03q8wvfyupoka/Alex (6) (1).m4a?dl=0
@TyburnTech it's very much a genre piece, but it grooves well and I like the simple but catchy bass line. Nice dark sounding patch for that filtered bass that is the backbone of the song. It's definitely 1992 again. I can imagine myself (20 years younger) on a sweaty dancefloor with this blaring out over the PA to the crowd's approval, and since that is what it was aiming to do, it's a success.
@AlexB Hey man I didn't mean any criticism of your vocals. I just thought you might have considered a lead break in there as well.
No no! I understood you wanted to check how it sounded just the instruments! No hard feelings!!!
@crouchie That's a blow but good luck with your Modstep/Cream journey this month.
As soon as I pressed play my feet starting tapping along to the "disabled grasshopper" hats beat. I knew you had me then. From sofa to floor I went while soaking up your sinister building intro waiting for the kick in. Tidy tribal bongos with excellent natural flowing velocity.
Kicked in it did! Mesmerising minute of thumping dance music, which I cranked right up as you suggested. I love how you've crafted & panned your vocals from 3.00. Centre - main, left - high & right - low backing is so effective & goes with the more urgent feel underneath.
Then another 3 odd minutes of gut punching dance stuff. Glad you left a longish fade at the end to have a bloody rest! Stretch down time. The bass riff at 5.00 gives your song a hypnotic addition to that beat. A few screams, bangs even expletives could top up the paranoia levels but that's just my psycho tendencies coming through
This is a banging, edgy dance tune that I thoroughly enjoyed & got knackered too. Job done crouchie.
Hope The Albion are also banging this season.......on the Prems front door!
I like the vocoder, but as a backing group more than anything, and to really make it work I think I would need to a) spend more time on the quality of its own mix and then b) mix/glue it well with a better sung lead vocal. I think it can really suit the sub-gospel idea here, but needs more work/more technical ability than I have currently/have the patience for.
As for a solo, this is one area where working with others would help. There's nothing I really feel qualified to 'solo' on, but, hey, always good to leave some room for others one day
Thanks for the response.
first of all thanks again to clear up my misunderstanding of the thread's title
I really considered it to be something challenging...
haven't yet made it through all contributions, but agree with the poster calling it his favorite radio channel
on topic: that track was a great journey - the poem keeps up a strange kind of tension which dissolves in Amazing Grace and then the story takes another turn - very cool and spot-on mix
amazed, Tom
outstanding songwriting and sense for melody, really hits it for my taste ...
...and you have even more on that site
well done, Tom