- Starts off with a good mix. Nice texture, interesting rhthyms. The bass doesn't quite work for me -- seems out of place -- but I love the organ and the subtle doubling on the vocals. The added guitar at 1:28 is too loud, or maybe it's the hard panning, but it kind of intrudes at first. Makes the bass feel better though. After this the song feels fully there. The problem is that it already felt fully there. The solo has great "aahs" but the guitar is marking time, not going anywhere. Another textural change at about 2:20, well-timed. The vocal changes character and comes close to losing its charm. Nice variations around 2:55. Then it feels like it's about to end, but we have a wrap-up verse. The closing "seconds" don't feel like seconds, which is disconcerting. Overall, a peppy, fun song and a good performance, weakened by some dragged-out parts and a little bit of heavy-handed mixing. Lyrics offer an original take with imagination and economy. (This was the one playing in my head next morning.)The Chocolate Chips
- Sparse, surreal arrangement, weirdly angular melody, a halting, crippled rhythm with interesting cross-detail. The singing is slightly nasal, and at the beginning it feels a little off-key, but that might be the effect and the way the notes play off the accompaniment. The timbral changes near the end, with thick, numbing bass, saturated distortion, and X-Files portamento, are rich and satisfying. The whole thing has a faintly disturbing quality. I'm not sure what the lyrics are saying, but they seem to fit.Cody Walker Jr.
- Excellent guitar recording, lovely fretwork, and smooth, abstracted vocals with just the right effects give this an open, natural sound. The answering female vocals are pure and sweet, but without the same distance; they need to be pulled back in the mix just a bit, or given more reverb, or both. The composition moves restlessly in places, with contrasting stillnesses and silences. Occasional quaverings and percussive noises add interest without being obtrusive. The lyrics assemble images fitfully, with some uneven scanning and rhyme schemes. Vote. Dejected Motives ft. K-OS.2
- The lyrics are searing, and well-matched to the flat, dejected mood, but the wandering, drawn-out melody and the monotonous accompaniment seem to drain the song's energy. Genuinely and deeply expressive, but not necessarily in a good way, this feels like a monument to depression. For me, the lyrics are the outstanding component; they capture a particular feeling with effortless, powerful simplicity.Gooey Caramel Centaur
- A gentle and touching song. Good peformance dynamics, with lulls and swells moving the song forward. The singing has a raw, sharp edge that seems to be coming more from the head than the chest. But it also feels as if it's coming from the heart. The melody is pretty, and the spontaneous phrasing is wistful and reflective. The lyrics are understated, but the story is not fully articulated; sometimes it seems to jump rather than flow to new ideas. G.U.N.S.
- A dense, busy arrangement, with touches of Sufjan Stevens (sp?) and Cake, but uncharacteristically (and delightfully) bassy. Wonderfully complex and cool, this piece feels disorganized and random, but that's a feature, not a bug. The lyrics are indirect but evocative, meaningful but elusive. Good mix, plenty of character in the vocals, competent playing all round. Well done! Vote. James Owens
- I got the idea the night before, and the next morning I made a single-mic recording about an hour before the deadline. In the spirit of the song, my ground rules were to use as few fingers as possible, and move them as little as possible. I did allow three fingers for Day Seven. Vote, but not just because it's mine. I kinda like it. Johnny and the Rays
- The song has that Johnny Cashpoint charm, and the Rays work nicely with it to develop a brisk, happy arrangement with provocatively mismatched lyrics. The ba-bas fill in a little too much time. Consistent textures, playing styles, and effects; if it weren't for the synchronization issues, I could believe you were all playing in the same room. But is that bass in tune? The harmonies are nice, but for the life of me I don't know why that end note at 1:26 doesn't just drop a semitone to the third; that would be sweeter. Also, they're a little high in the mix. All in all, allowing for the difficulties of international collaboration on a tight time scale, a very entertaining entry. The Kenzie Chickens
- You've got a Motown thing going here, and a rock-solid rhythm section to bring it off. Outstanding bass work, funky ryhthm guitar. The punchy brass, wailing staccato guitar bend, and slinky organ hit all the right notes. The vocals are coming from a slightly different tradition, more like rough blues, but they're delivered with energy and confidence and a touch of irony, and it works. Compositionally, I could probably name names, but I understand this is intentionally derivative so that's OK. Good mix; I do have problem with a telephone ringing in there, I don't know what's causing it. Great fade.Paco del Stinko
- There's so much going on here it's hard to keep track, yet everything stays organized and purposeful. The quirky bass line, the odd chord changes, the attention to detail in the polyphonic guitar accompaniments, the little touches like tremolo accents in alternating ears, all add up to classic Paco. And of course there's the hallmark freneticism. The lyrics are a little patchy, although you gotta love rhyming "home" with "shone." Some of the changes in this one don't work for me, and the bass line gets a little murky in the chorus, but I appreciate the experimentalism, and the context: a song for every fight, and always with imagination, strong playing, and great production. Sausage
- The guitars sparkle, the vocals soar in that preening rock-superstar way, and the bass has an attitude like a lump in a tight crotch. Nice, well-timed breakdowns, thunderous drums, ingenious buildup in the bridge to a new plateau at 2:07. Good backup harmonies, skilled playing all round. When the harmonies break into words it's brilliant, and those wailing duelin' leads are the capper. I lived through the seventies and I've heard enough Boston to last a lifetime, but you pulled this off very well. Vote.
: I'll keep the handlebar moustache in mind if I ever choose an avatar. In real life I'm a beard guy.CodyWalkerJr
: Thanks for noticing the time signature. I wanted to use 7/4 for the middle part, but I couldn't make it work / ran out of time / ran out of breath (pick one).BillyMojo
: "Who Said I'm Dead" is a personal favourite, glad you liked it. Are you combing the archives?Stubby Phillips
: Thanks. -- That's probably not going to be a full CD!