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Song Of The Month Club - May 2025
What is the Song of the Month Club?
It's a place where musicians come to give and receive feedback on their work. Anyone is welcome, whatever their level of ability.
The spirit of the club is to contribute: if you submit a song for others to comment on, you should also have the courtesy to listen to everyone else's contributions and give as much feedback as possible. Posting a track and not listening and commenting on others is not cool.
The purpose of feedback is to be honest. Essentially you should give your truthful impressions of the song, whether good or bad. Negative feedback, if done in the right spirit and with courtesy, can be the most useful and can help the artist to grow.
All submissions are welcome, don't hesitate if you want to contribute. We like all kinds of music and we are particularly fond of vocals (but of course we still love a great instrumental). If you are thinking of experimenting with vocals this is a good place to get started.
We ask that you only post one song per month in this thread - if you're lucky enough to be able to produce more, then please just submit your strongest material
And finally, iOS is not a requirement for posting here. If you've recorded your song using nothing but a ukulele and a Fostex 4 track, that's fine.
Comments
My entry for the month, lyrics in the spoiler:
Now I see where you go
Now I know you’re so alone
Where did it go wrong
I thought you were the strong one
And so we see that we don’t know
We lost our bearings long ago
There is no seeing
Only believing
But I don’t want to
Just see the day through
I wanted to believe you
I wanted grieve you
Now and then we follow
A road that we don’t really know
Where will it lead to?
Where the world believes you?
And so we see that we don’t know
We lost our bearings long ago
There is no seeing
Only believing
But I don’t want to
Just see the day through
I wanted to believe you
I wanted grieve you
I’m here beside you
I wish I could guide you
Where you go is up to you
You have to know to see it through
And so we see that we don’t know
We lost our bearings long ago
There is no seeing
Only believing
But I don’t want to
Just see the day through
I wanted to believe you
I wanted grieve you
My entry for this month is a collaboration with @unlink
I posted the track a few weeks back and for those interested in knowing who did what, the "doobly-doo" is available in the first post of the following thread:
https://forum.loopypro.com/discussion/64723/arson-cinematic-post-rock-experimental-journey-featuring-unlink
This is a music track that I improvised on two MIDI keyboards connected to Bitwig Studio on a desktop PC. There the MIDI was routed to Solo for the cello, flute, oboe, and bassoon; Noire for the piano; Vital Series: Mallets for the glockenspiel; and Continua for the background instrument.
After bringing the audio recording into Vegas Pro, I applied the Lurssen Mastering Console plug-in to the audio mix.
It's titled Set Sail.
The first half is quite amorphous and ethereal, with the disembodied vocal and the hauting strings. It creates a beautiful, almost abstract atmosphere, all the while the volume is gradually swelling.
Then the bass comes in, the strings become more staccato, and all hell breaks loose. 🔥
The guitars in the second section are epic, and the excitement is through the roof by the end.
Another pleasant reverie that slowly unfolds and drifts by.
Another one of your catchy and instantly memorable melodies. The opening melodic guitar is very reminiscent of U2 or Coldplay .
Every time I listen to the track, the intro fools my expectation in terms of tonality and I am surprised by the direction the track is taking when the guitar comes in. I like this kind of treachery a lot 😜. Nothing to say about the production.
I think what I like the most in this track are the lyrics. The complex mixture of despair and hope, empathetic feeling for the other's struggles and the terrible feeling when we realise we're unable to help them as we're facing our own struggles. So terribly alone and so in need of connection. The human life's oxymoron. Beautifully heartfelt writing.
Let's set sail and cross the seven seas. If we believe enough in our journey, on our way, our beautiful ship will grow wings and take us to the moon!
Thank you my friend. The last 4-5 years have taught me a lot about dealing with uncertainty, which is what we all face in life, and the lyrics I think are a reflection of that.
Also I need to find a way to use delay that doesn't sound like U2 😅
@richardyot I really enjoyed that. Your vocals in comparison to a year ago are more confident, steady but it isn’t at the expense of that fragility that I enjoy.
As for the u2 delay thing. The edge kind of screwed everyone with the 1/8th in early years before going 3/16th on one Chanel & 1/16th on the other later on. He monopolised my favourite settings!! 🤣
Thanks for that comment on my vocals, much appreciated. And yes, Edge has screwed anyone who likes to use dual dotted delays 😅
Whoever feels screwed by The Edge appropriation of dotted delays should watch "It Might Get Loud" to immediately feel unscrewed 🤭
I've seen it, it's great. Jack White runs rings around the other two. 😅
After the shooting, I bet Edge didn't touch any guitar for a year. Seeing his friend in distress, Bono intervene and baught him a semi trailer truck full of all of the newest pedals he could find on the market, so they could make a new record they forced on more than 500 millions iTunes account. It took a lot, but Edge's ego was eventually saved 🤣
How to make enemy with the whole Irish community in a single post...😜
I kind of enjoyed his honesty, showing how basic his riffs were - "try playing that on an acoustic" he said with a grin. 😅
Contrary to his wannabe messiah singer, I do think Edge is humble and aware of his own limitations. And smart, as he found the tools to create a sound that is instantly recognizable.
But I remember that when It Might Get Loud was released, I thought to myself, "why choosing Edge with the other two monsters, something's wrong with the casting".
I mean, there's nothing Edge plays that a beginner cannot achieve with a few months of dedicated practice. On the other hand, it takes a few years to be able to play properly what Page and White play.
I think the production team chose 3 guitarists that were representative of their era: Page for the 70s, Edge for the 80s, and White for the noughties. IMO it was really interesting casting as they all have such different styles and approaches.
I was just a kid in the 80s so my knowledge of that decade is not as sound as yours. but from what I could understand a posteriori, a guy like Van Halen looks more like the guitar player from the 80s. Edge, despite creating an influential type of sound, doesn't strike me as especially representative of that decade. But yeah it was definitely a fun watch. And I am biased, I don't like U2 that much, or should I say, what they became.
To some extent the production would have been constrained by which artists were available and willing to participate, I'm sure they approached quite a few.
But I would also add that for me personally Edge is a much more interesting and creative guitarist than Van Halen. There's more to art than mere technique, and even though I'm not much of a U2 fan (they were considered extremely uncool when I was young) I think their music has stood the test of time better than Van Halen's - who just completely sucked IMO 😅
How to make enemy with the whole Irish community AND the whole shredder community. Bravo Richard 😂😂😂
That being said, I agree with you about EVH, a hell of a player, nice human being, but what a shitty music...
My favourite "rock" guitarist is probably Malcolm Young, which tells you what I think about shredding (not much!). The rhythm guitar in AC/DC is infinitely more interesting to me than the leads IMO.
Here's my favourite rock guitarist, so you know I'm on the same page as you 😜
Jack White would approve, that's for sure 👍
There's this saying in the guitar world:
If you go to an audition, play a good lead and you might get people's attention, play a good rhythm part and you'll get the job 😄
I grew up playing violin for 7 years, offered scholarships, played orchestra in concert halls, so a decently high standard.
The result is that all the fretting technicality was never really so impressive to me. I actually ended up a bass player and when guitar fret boys would try and slag me is slay them and say it’s playing on cheat mode, it tells you exactly where your fingers go 🤣
It sounds cringy, but there is a lot of truth in the old it’s really hard to not play thing.
The edge might not shred, but the notes he does count and his timing and dynamics are great, maybe because of the nature of his delay pedal. I read he used it growing up because it was a way to practice timing without a band, like hitting a ball off a wall.
Absolutely, And the Edge created a sound, which is really hard to do.
@richardyot
It’s actually a little tricky to emulate exactly. The setting get you in the ballpark, but I could never get it exactly right. There’s refined technique in what he does. There’s the muting, of course, but there’s also the little things.
the type of pick he used has dimples for grip but he flipped it and used that feature and it gave it a little more of the attacky/noisey element. I always felt it never crunched enough when I did it but I never knew what I wasn’t hearing or the right language to ask. a skill I’m still learning.
I think there’s also a different mindset I didn’t get cos I came at it from the wrong place.
I’d write, practice and play guitar and add effects.
The edge had the fx on, the fx didn’t colour the guitar, they were integral. Again a small thing but it all matters to why he created it. He’s not the first guy to use a delay, but there’s things going on that with him that are contributing to why he has the definitive sound. So much so everything in that band was based of his guitar, even the drums had to match his timing.