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http://www.last.fm/music/The+Orkustra/_/Bousaki+Blues+Experiment
(Actually the Blues Experiment piece kind of grows on you...)
Beautiful guitar playing, and the simple rhythm and low mixed bass complements it nicely.
Tune-wise, it starts with a Santana-vibe, gets Beatle-like around a minute, King Crimson-esque 30 seconds later, with some early Hillage for good measure. If I could play this well I'd be a very happy man!
The expansive backgrounds with Harmonium sounding pads & the cool delayed brush percussion is so cool.
I like the vocals. It is very catchy and the melody is very effecting. I said to a producer last month that singing is THE MOST difficult thing to do if you have any doubts about your ability. I mean Stratocaster's dont get existential mind fucks when the jack is plugged in. But we step up to the mic, if not confident, and it can really be difficult.
I know there's a lot of EDM and non vocal producer's here and seeing them try and get out of their comfort zone is inspiring.
Well done.
Yeah Derek this was so on point. If it's to demonstrate differing styles of music, trying to capture a contemplative or even anxious mood, it was great.
Love the raindroppy piano line and ominous thuds in the back.
Coool!!!!
Man! So original, almost like neuvo Spinal Tap. Love the British humor and all the ways the water theme was worked into the lyric, different bodies of water, rain, etc. Very clever.
The backing guitars could have been more present or meaty but with this many vocals swirling in and out, relaying narrative I think the thinner wiry guitars were the better choice.
Very very cool brother.
Now I really dug this! The U2 meets Pretenders verse guitar tones and the very unique melody and song structure are all so well done.
I like the vocal I just think it could sit better in the mix and EQ'd just a bit to bring out some air & sparkle. Compression is great but a old school technique we all have lost using touch screens on iOS & mouse keyboard on desktop/laptop is fader riding. Being able to ride the vocal level naturally to get a dynamic performance without the coloration of compression is a cool deal. Maybe do some automation on a few parts.
But in total that's really it. Every element is represented and played very well, especially the guitars (great lead work!).
If this is your very first track, KEEP MAKING TRACKS! Not being a "musician" or knowing musical theory isn't a disqualification from making music brother. Sometimes having a limited amount of music theory knowledge can be liberating it's been said, but I believe those who love music and continue to create eventually pick up the bare minimum to communicate with other musicians .
The tracks mix was nice, well balanced, very strident. The music was repetitive at times but it had a definite hypnotic quality that was really quite cool. The lead line at the end and the way the mix & arrangement peeled back could have come sooner with the mix rebuilding into a crescendo.
But overall, really good and
I'll be curious to hear future recordings you do.
Really beautiful music. I'm not a fan of the vocal effect and would prefer to hear them without it (as they're really good), but there's a couple of bits where the effect works really well (a bit Radiohead-esque) so maybe bring it in for certain sections?
A lovely thing though, very emotive.
@studs1966 "Ooh, la, la." Great way to kick the weekend off. Yes, did enjoy this tune thank you, and yes, have sampled Leon. Lakes. I heard it's just a Carlsberg under it's hops. There's a thing in your tune that sounds a bit like the brass in the "Homeland" TV drama. In the left lug it is. At first, it doesn't appear to fit, but is that the point. Another lesson for me. Can even feel the bass player plucking the sexy riff out.
Right, can see this is the Radio edit but where's the "who gives a shit, no holds barred, Napa mix," please. Want some lyrics?
Johnny boy. Couldn't stop laughing mate........
& it can be a little like that here. Over here in Cyprus land, if a Cypriot says to you, "it'll be here today!"......... That means a week. If he a Cypriot says, " It'll be here next week!"....... it'll be here next Month.......... & if a Cypriot says next Month?.......... it'll never happen. Over here, we Brits call it GMT time.........
Not "Greenwich Mean Time" ........ but more likely, "Greek Maybe Time"......... lol
@aaronpc Total brilliance! The story, lyrics (worth every second), music, all of it. Such a talent you are sir. Richard is right, as usual. We here, all have different ways of delivering our stories/messages to the world, through music and words. Forging an identity. You, like most here, have already done that and you must/should be bloody proud of yourself. Your music gives me that ache and want I adore. You create a triumphant longing inside with a full emptiness. Wish I could explain it better with clever words but this is how it makes me feel inside. Gorgeous feeling.
After a few listens, the debated vocals settled in. Not immediately, but they did. I know nothing of vocal effects and sit firmly in the "Sleafords" camp........at the moment. None added. Too technical, more buttons and stuff to screw up. So, there are two bits. At 1.55 - "The one that came....," and at 2.38 - "You have to jump in." Are the same effects used on those, as in the rest of the song? They seem to stand out, in terms of clarity, so just interested. You do have a lovely vocal voice underneath, natural and a perfect fit to increase that "need" factor I unsuccessfully tried to explain to you. Sorry, but what matters is, I felt it all. Brilliant.
The video of my entry of this month, for those who prefer watching than listening:
Nice drums and bass groove and enjoyed the harmonic movements. The floaty pads aren't really my cup of tea and I felt that rather than 'ebbing and flowing, rising and falling' the track just slaps down another layer now and then. Also the chord progression occasionally sounded like Hotel California. I liked the the guitar tone. Rhythm, guitar soloing and bass all pleased me thoroughly.
@JRSIV @MonzoPro @Bluepunk Thanks much for the useful feedback. I'm glad the song seems to be working despite the understandably distracting vocals.
I'm not a terrible singer, but my range has gone from high tenor to baritone since I hit my early 30's, and I couldn't get anything going for this song that cut through the mix. After two days of failed vocal sessions, I decided to break out a free VST plug called AlterEgo just for fun. You type in the lyrics and it uses a built in dictionary to distinguish the syllables. Start playing notes, and it sings your words- one note per syllable. So the vocals don't use an effect. They're 100% synthetic. Really creepy and fun to play with, but believe me, it ain't easy. I lost hours and hours adjusting notes to maximize legibility and tweak legato and tremolo. It really is better suited to its native Japanese.
The vox plug was instant magic in the song, though, and completely changed the vocal part I had in mind. I realized that I was seriously underestimating the vocal possibilities, basing them on my own range and confidence. Like a lot of singers on the forum here, I subconsciously tend to sing within a limited territory, trying to stay out of the way of the music rather than lead it. Using the vox in this song really woke me up to that. I'll most likely never use it for lead singing again, but I'll probably break it out again to help get me out of bad singing habits when I'm unsure about a part. And creepy background vocals. Can't get enough of those.
I tried singing in the style/range of the vox. I can do it, but it sound a bit like Terry Jones in a dress. I'm happy leaving it as is, but I'll see if I can somehow blend the two to enhance legibility and humanize it just a touch. We'll see.
@Bluepunk I know exactly what you mean about the full/empty thing. Same wavelength there, so thanks a bunch. As for vocal effects, I take it song by song, but If I had your voice, I'd never touch one. Love it. If I could have that voice for just one day, I'd have so much fun. I want to make a deal with you— I send you a song for you to sing/talk over; whatever you want to do (I don't have one in mind; would need to write it special). In exchange, send me one of your songs with the vocals separated out and I'll work some of my anal retentive pitch correction magic on it. Deal?
Thanks! And thanks for mentioning the solo thing at the end. It's actually my favorite part of the song, truth be told, and has almost as long and convoluted (though not as interesting) a back story as the vocal treatment (see the above).
@aaronpc you went from high tenor to baritone in your 30s? That's amazing, did something happen to cause that?
Maybe with some work you can still reach those highs, and have a Roy Orbison style 3 and a half octave range.
I use to love singing Orbison songs in the car. Note for note. I can only do a couple of them now.
Nothing happened, really. Use it or lose it.
@aaronpc My wife asks if you could possibly have it for a smidgen longer please? Sorry for the delay in responding. Wasn't being ignorant, it's just I'm on lockdown here, because of the rugby result yesterday. My normally wonderful, warm Welsh friends, today, aren't.
Cannot believe you've asked me to ruin one of your masterpieces (and they are) by muttering stuff over the top of it. I'm shocked but incredibly honoured. I doubt I will ever be able to do it justice but I will try, and have a ton of fun trying. Deal.
@trackedout What's the story behind the motel pic please? Intrigued. Like I am about everything with you. As a musician and person. When I blag my way across the States, I'd enjoy meeting up and have a guided tour of your patch. All your techniques, playing, singing, recording etc. This is yet another original offering, and maintains that "thing" you possess. Don't know what it is, but special springs to mind. Got to add that the song blasting in after this one on SC, is "Reaper mix stone at I." Good to experience that one again. Have you done some work on it? Double snares going on.
This track demonstrates that "thing" in droves. There's a touch of casualness (positive) that comes through, but then you play with wild abandon (positive). Very clever and inspiring. The string stabs, rather slabs, of immovable beauty, hammer their way into your tune and add an intoxicating, exotic stubbornness. Look, please get that bloody album released before someone steals your ideas and songs. The songs are gems. Time to let them shine bright on everyone's transistor radio, and not only for us lucky lot down here in the hot tub. Get it out, quickly.
I like it. When the bass started, I thought it was going to be too fat, and eat everything else. But it sat fine in the mix. Definitely dance/club stuff, and for that I'd imagine it's a great dance tune. For listening, it needs some breaks or changes along the way.
I really like this. The melody is beautiful, and the chord structure, and the arrangement. I find the robot voice a bit distracting, I think I'd like it to be plain, because everything else is quite gorgeous, and maybe the robot voice is just a bit too much.
Solid, punky, driving tune. I like how out front the vocal is; it just rides on top of everything. A bit of a break/bridge would help for me.
Whoa, beautiful production. That's got quite the emotional wallup, really nice. I was hearing a bit of background crackle in spots, like at around 42 seconds?
Thanks mate. Your probably right. Thanks for the kind & positve commments. Actually, I listened to it again last night, after 9 bottles of KEO, with a Metaxa Brandy nightcap(too wash down the Kleftico from the clay oven)........ Then comparing it with Joey Negro, MAW, Deep Swing, Full Intention, etc productions....... Thinking............. Still needs work maybe?
Lol. All I can say, is that's brilliant, from concept, to recording, to the mix. Vocal is great. The ending is perfect.
Wow, I loved that. Prog at its best. Vocals are fab, especially when you have different lines moving around each other. Arrangement is great, the long slow build through the song. Mix perfect for me.
Excellent. I will call on you sometime in the future. I cannot tell you when— it could be days, it could be months or even years. The code word will be "magpie".
Hennie, that's a pretty darn fine first effort. Need some more variety, both rhythmically and textural, but that's more than a fair first effort.
Had me hooked from that opening riff. Great guitar tone, love the feel throughout. Mix is great, everything nicely placed. Your voice is perfect for the tune as well.
Monzo, it's got some great sounds, but it's tough to listen to for me. I like a little more structure.