Nur Ein XV Round Zero "This is Fine"

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crumpart
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Re: Nur Ein XV Round Zero "This is Fine"

Post by crumpart »

bambamoozle wrote:
Wed May 13, 2020 9:14 am
My contradiction was the "Daylight in a pitch-black room" line, and I was especially happy with the "Nothing's left when nothing's right" line which I may use again someday, I think that's pretty clever if I say so myself and I could probably write a song centered around it.
That “nothing’s left when nothing’s right” also stood out to me as excellent. Good work!
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Re: Nur Ein XV Round Zero "This is Fine"

Post by bambamoozle »

crumpart wrote:
Wed May 13, 2020 9:22 am
bambamoozle wrote:
Wed May 13, 2020 9:14 am
My contradiction was the "Daylight in a pitch-black room" line, and I was especially happy with the "Nothing's left when nothing's right" line which I may use again someday, I think that's pretty clever if I say so myself and I could probably write a song centered around it.
That “nothing’s left when nothing’s right” also stood out to me as excellent. Good work!
Thanks! I googled it expecting to see it was used several dozen times already, and was pleasantly surprised to find it might be somewhat original. As the saying goes, every once in awhile a blind squirrel finds a nut!
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Re: Nur Ein XV Round Zero "This is Fine"

Post by BoffoYux »

A HUGE thank you to the judges for taking the time to review and rank all these tunes.

It's not an easy job to begin with, and the 40+ songs didn't speed up the process.

I'm disappointed but not surprised BYD is now on the sidelines. This will be a strong field. I'm looking forward to all the listening parties we have in the future, and encourage you to do a shadow if you find you're out of the running this round. Things change quickly in Nur Ein, and I can see several openings because of a default each week. And since it's the judges picking who is reinstated, you better bring your a-game with the shadow songs.

In the last 5 Nur Eins, the average was about 5 forfeits in the first 3 rounds. If you do a shadow, you have a very good shot to get back into the mix.
Just ask Temnere. When Caravan Ray declined to do a SpinTunes challenge, they took up the gauntlet, and ended up winning it all in ST16.
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Re: Nur Ein XV Round Zero "This is Fine"

Post by noma »

bambamoozle wrote:
Wed May 13, 2020 9:43 am
crumpart wrote:
Wed May 13, 2020 9:22 am
That “nothing’s left when nothing’s right” also stood out to me as excellent. Good work!
Thanks! I googled it expecting to see it was used several dozen times already, and was pleasantly surprised to find it might be somewhat original. As the saying goes, every once in awhile a blind squirrel finds a nut!
Very surprising how rarely it was used, would have expected it to come up more often. In fact I wrote a song with the line "Nothing's left of you at all, but to me it's all right" about ten years ago, but never recorded it (it was a lousy throwaway song, and this is about the only lyric I like in it) - and I much prefer the use of the pun in your song. I can't really think of any other occasions this pun was made... so, great minds think alike, I guess? :D
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Re: Nur Ein XV Round Zero "This is Fine"

Post by noma »

BTW - Micah - as a linguist, let me express how much I hate that guy Chomsky. Not as a person, not for his political views, but for how he totally ruined my interest in everything syntax-related (I'm more of a semantics guy, and I love historical linguistics) with his bullshit theories I had to read about and try to make sense of for countless hours at university. I absolutely love your lyric though, it's absolutely hilarious. Very well done!
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Re: Nur Ein XV Round Zero "This is Fine"

Post by owl »

noma wrote:
Wed May 13, 2020 1:25 pm
BTW - Micah - as a linguist, let me express how much I hate that guy Chomsky. Not as a person, not for his political views, but for how he totally ruined my interest in everything syntax-related (I'm more of a semantics guy, and I love historical linguistics) with his bullshit theories I had to read about and try to make sense of for countless hours at university. I absolutely love your lyric though, it's absolutely hilarious. Very well done!
Oh no, Micah, they're coming out of the woodwork :D

Do you work in academia @noma? Have you made a lot of cold, hard cash diagramming sentences? because, as I complained about to Micah in the listening party, I studied linguistics and work in a related field, but it is decidedly NOT lucrative.
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Re: Nur Ein XV Round Zero "This is Fine"

Post by starfinger »

Not sure anybody cares, but here's a version of my song with the verse vocals comped together. Whodathunk Round 0 would have required me to be less sloppy! Anyway, cheers.

https://soundcloud.com/kongbalong/starf ... is-is-fine
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Re: Nur Ein XV Round Zero "This is Fine"

Post by MicahSommer »

noma wrote:
Wed May 13, 2020 1:25 pm
BTW - Micah - as a linguist, let me express how much I hate that guy Chomsky. Not as a person, not for his political views, but for how he totally ruined my interest in everything syntax-related (I'm more of a semantics guy, and I love historical linguistics) with his bullshit theories I had to read about and try to make sense of for countless hours at university. I absolutely love your lyric though, it's absolutely hilarious. Very well done!
Thanks noma, I'm glad you enjoyed my ridiculous lyrics. My own personal opinion (as very much Not An Actual Linguist) about Chomsky is that his work has been vital to moving the field of linguistics forward, even if the details haven't always been borne out. My cousin is a research professor in child language development and he'll be happy to tell you all about how his and others' work has proven Chomsky right about everything, but it's all over my head. I know just enough to poke fun.
owl wrote:
Wed May 13, 2020 1:39 pm
I studied linguistics and work in a related field, but it is decidedly NOT lucrative.
Still pays better than the music though, right? ;)
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Re: Nur Ein XV Round Zero "This is Fine"

Post by noma »

MicahSommer wrote:
Wed May 13, 2020 3:00 pm

Thanks noma, I'm glad you enjoyed my ridiculous lyrics. My own personal opinion (as very much Not An Actual Linguist) about Chomsky is that his work has been vital to moving the field of linguistics forward, even if the details haven't always been borne out. My cousin is a research professor in child language development and he'll be happy to tell you all about how his and others' work has proven Chomsky right about everything, but it's all over my head. I know just enough to poke fun.


It really is a love or hate thing with Chomsky. Of course I won't deny he did a lot of important work in linguistics, and especially concerning the understanding of child language development; my hatred is mostly directed towards his syntax theory, or theories, which grew ever more elaborate over the years.
owl wrote:
Wed May 13, 2020 1:39 pm
Do you work in academia @noma? Have you made a lot of cold, hard cash diagramming sentences? because, as I complained about to Micah in the listening party, I studied linguistics and work in a related field, but it is decidedly NOT lucrative.
Definitely isn't lucrative. But it only makes Micah's song even funnier - I mean, "Diagramming sentences is where the money’s at" is such a grotesque sentence. (Semantically, not syntactically.)
And no, I don't work in academia, these days I mostly do lectoring work and perform music (i.e. standard g'n'g performance) for a living. Can't say if it actually pays better or worse, but it's certainly less frustrating for me.
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Re: Nur Ein XV Round Zero "This is Fine"

Post by owl »

MicahSommer wrote:
Wed May 13, 2020 3:00 pm
owl wrote:
Wed May 13, 2020 1:39 pm
I studied linguistics and work in a related field, but it is decidedly NOT lucrative.
Still pays better than the music though, right? ;)
Ouch! Touché :)

(Edited to add that of course once I get the huge novelty check from judging this contest, that will all change. I've already put down the down payment on my yacht in anticipation)
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Re: Nur Ein XV Round Zero "This is Fine"

Post by mo »

Does this mean you'll be making yacht rock
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Re: Nur Ein XV Round Zero "This is Fine"

Post by owl »

mo wrote:
Wed May 13, 2020 5:03 pm
Does this mean you'll be making yacht rock
Round 2 challenge?
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Re: Nur Ein XV Round Zero "This is Fine"

Post by furrypedro »

owl wrote:
Wed May 13, 2020 5:09 pm
mo wrote:
Wed May 13, 2020 5:03 pm
Does this mean you'll be making yacht rock
Round 2 challenge?
Finally I will be able to unleash my Michael McDonald impression!
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Re: Nur Ein XV Round Zero "This is Fine"

Post by owl »

furrypedro wrote:
Wed May 13, 2020 5:43 pm
owl wrote:
Wed May 13, 2020 5:09 pm
mo wrote:
Wed May 13, 2020 5:03 pm
Does this mean you'll be making yacht rock
Round 2 challenge?
Finally I will be able to unleash my Michael McDonald impression!
I cannot STAND Michael McDonald, probably should have added that to my manifesto
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Re: Nur Ein XV Round Zero "This is Fine"

Post by furrypedro »

owl wrote:
Wed May 13, 2020 6:19 pm
furrypedro wrote:
Wed May 13, 2020 5:43 pm
owl wrote:
Wed May 13, 2020 5:09 pm


Round 2 challenge?
Finally I will be able to unleash my Michael McDonald impression!
I cannot STAND Michael McDonald, probably should have added that to my manifesto
Yesssss, then you are in for a treat.

To be honest, the main 2 reasons I like Micky McD are; 1. Regulate, and 2. He sounds exactly like Trey Parker's mega hammed-up country singer pastiche voice, so it just amuses me. Sheer ham overload.
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Re: Nur Ein XV Round Zero "This is Fine"

Post by vowlvom »

Round 2 title: "Sheer Ham Overload"
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Re: Nur Ein XV Round Zero "This is Fine"

Post by mo »

I was thinking it would be a good name for a distortion pedal
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Re: Nur Ein XV Round Zero "This is Fine"

Post by owl »

From Pigtronix?
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Re: Nur Ein XV Round Zero "This is Fine"

Post by mo »

Hi all,

First of all, thanks to all of you for all of the great songs. I know it won’t feel like it as you read this, but I did actually enjoy listening to and thinking about all 41 songs. I didn’t say 42 because screw Vom. He’s English and will probably try to steal my marmalade unless I bait a trap with Marmite or Vegemite or something weird and yeasty. Anyway I know everyone put a lot of effort into these and feelings might get hurt. But hey, if you really weren’t a secret masochist, would you participate in these things? Answer: not unless you’re just an open masochist.

I’m trying to do my reviews in real time as I listen one time to these songs, as that’s the only way this is getting done with my work week. A couple of general notes that I discovered I thought a bunch of times as I went through the songs writing these reviews. One thing I noticed a lot is that to my taste, many people are mixing the vocals pretty high up in the mix, to me much louder than they should be. This is a problem that I think gets solved generally with judicious EQ usage—what happens is that the vocals, the guitar, piano, etc. all fight for midrange, and sort of need to be given their own part of the midrange, which makes it easier to have everything at a clean, nicely balanced level and also hear every individual part clearly with no mud. Glenn has often disagreed with me about the levels of vocals in SongFight songs though, so YMMV.

There were a lot of songs with vocal intonation issues that were difficult to sit through, but I think Glenn has already done that in a lot of detail. I had a lot of issues more with lyrical meter—some of the entries had performances that just didn’t have a great pocket with the vocalist, picking up into lines and phrasing in the middle of lines. Usually people managed to end the lines ok, but rhythm doesn’t stop, it’s all part of the grid if you know what I mean. I bring these things up at the top because it’s always useful to remember even if you’re already a very experienced and practiced singer/musician that good phrasing really sets you apart. Bad phrasing also is very noticeable. And then besides just getting through the lines musically, knowing which words to punch up or thinking about your line delivery choices is also important, and is for example one of things that really sets a David Bowie apart. He finds line deliveries that influence the meanings of the lines.

Finally my thoughts about judging this challenge: given the nature of the challenge and the examples, plus it being Round Zero, I basically applied the Alanis Rule, which is that if I can tell you made a good faith effort to try to have a contradiction, then I wasn’t going to hold you to expressing at least two logically mutually exclusive concepts existing simultaneously in the same meaning-space. Many of the contradictions were really actually conflicts, contrasts, or ironically, ironies (you win a chance to write a song for Alanis Morrissette!) but to me, that’s all fine. I appreciated when people went out of their way to do more, or find emotional, philosophical, thematic, or other contradictions rather than just wordplay, but I did not hold it against people for following the type of contradictions in the examples given.

Ok, let’s see if I get to sleep tonight—


8th Grade Team: I like this type of set of synth sounds, and the groove is good. The early sections build nicely. The interstitial synth hook is my jam. It sort of reminds me of Kraftwerk stylistically although they obviously used different synths, which is good and bad. The good is the overall feel. The bad is that it starts to get a little monotonous to me after the first time through. The vocal could be mixed lower with a better EQ sculpting and maybe a little less reverb. I like the sort of Nico disaffected feel to the vocal, but on the couple of key lines, it needs a little stronger delivery. This song is fine but it lacks a section or a next level that would make it stand out.

Balance Lost: Good acoustic guitar sound, a little clicky for my taste. The vocal is rhythmically a little too loose for my taste, and is mixed pretty high. Like “it’s lunchtime”, even if the idea is to have something be a “filler line” as it were could sit a lot better metrically. Vocals push your range in some places but that doesn’t bother me as much as the first note when you come back after pushing. Again this sounds like the beginning of a song to me rather than a finished idea to me. Like it’s fine up to the beginning of the second verse, but then I want something to happen—anything, drums kick in, a countermelody, a different strum pattern—something. What’s there is lovely though.

BSS: Nice bass sound. I’m personally not a huge fan of the reverb on the voice, that’s personal taste though, I’d rather hear the voice more in the same space as the rest of the band. The pedal steel is a nice touch. You guys do a good job with section transitions and keeping movement. The guitar solo sounds a little rushed, not time-wise, but not finished. The chorus melody starts out stronger than it finishes, which brings this down a bit for me.

Boffo Yux Dudes: This song is super Octothorpey, where the vocal is a repeated, percussive riff. The vocal is a bit rushed, not just pushing the beat, which it also does, but it slips a few times into rushing, especially in the choruses. This vocal is so hot relative to the music that it doesn’t help the pocket feel at all. I like the delivery at the end though, hilarious.

Brown Word and the Big Whine: Of course right after I say all these songs have hot vocals, there’s this one where the vocal is a little too low. I think rhythmically this vocal is more or less on the beat, but actually should be a bit behind the beat to really make the groove go, and could use what I perceive as more confidence, it feels uncertain. The mix, like the structure of the song, is a little chaotic. This middle section doesn’t quite turn on a dime, does it. I do like the “yeah yeah” at the close though. It’s to tell what to make of the song as it’s not really clear what the melodic or rhythmic theme of it is. I don’t mean that every song needs to have a hook or something, but for example if that guitar riff is important, then it should have its place in the mix. I just don’t know what I’m supposed to listen to.

Cavedwellers: Rollicking open. Catchy vocal. I’m not sure about the mix with the drums so low, no power to the kick. The bass is pretty great, good pocket. I’m not crazy about the prechorus where something drops out. The harmonies are wonky in places. I’m a sucker for a Modern English borrowing in the solo. Nice tone, Gibson into Marshall? Sounds great.

Cloverdance: Someone said Neil Young, but it made me think of Cat Stevens. Vocal is so loud. I like moments of this song, eg. “this is fine…for now”, but I just can’t help but think the phrasing could be a little more, I don’t know, intentional-feeling. I mean, I’m sure you meant everything you sang and every musical choice you made, but I think these naked G+G performances really need to have something outstanding about them to…er…stand out…and while this is fine (I know, I’m sorry) it doesn’t quite have that singalongy melody or gorgeous riff or hook or whatever that would kick it up a notch for me.

DJRangerDen: Phrasing. Intonation. I’m not against the concept of a show tune type of composition, and the singer is going for it, it probably needed another take or two though. Or just hack together good takes, that’s what I’d do, I’m not proud, or good. I like the transitions between major and minor feels but ultimately I think this song is also a bit chaotic in the production/performance, I’m not sure how good it is as a song. Usually though IMO a really good song will shine through chaos and this doesn’t quite get there for me.

Evan Alexander Moore: I like this song more than I should. It’s kind of monotonous, the length on “trees” is a little too long, the pause is affected and happens too many times. But the voice and delivery reminds me Deconstruction-era Eric Avery and I have a soft spot for that. It starts out sounding great.

Fisher + Diaz: Sorry I wrote something anyway, but you don't have to read it this way, I hope!
Spoiler
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I would’ve preferred if this went full Hamilton, with a lot more wordplay that was better worked out and delivered more tightly. The sort of sung chorus needs more confidence in the presentation for me, and you know, intonation. Another song where the vocals are way too high in the mix. But you didn’t read this, so it’s all good.
Frankie Big Face: This has a good build into the second verse. I’m sure you already know the pitchy notes, assuming you’re even reading this. This is a solid effort, yeoman-like is the word that comes to mind. The moment near the end, I wanted a really huge swirl up crescendo and I didn’t get it.

Geech Sorenson: Good bass, has a nice groove. I don’t really like the drums though, they’re a little too functional and not quite with the song, if that makes any sense. I like the muted dark guitar tones. The harmonies do sound wrong though—although I have the suspicion that actually it’s that the harmony is in tune and the lead vocal is consistently a little flat. I like the songwriting ideas more than the vocal performance and as a whole, the song didn’t stand out to me. My wife did hum along to it though.

Glow Worm: This is a standout track for this fight. Everyone else has gushed about it, so I will complain about how the vocal is still too high in the mix for me. For as good as the chorus is, that drop out and note jump, I could’ve used more work on the drum programming here, especially once you go to the double chorus, it’s a little same-samey to the end where I feel like it really wants to blast off, in a mellow way. It’s a great song anyway.

Goodbye Bandita: I like the songwriting and arrangement concept, I hate how high up the lead vocals are (surprise, right? Glenn is sick of me saying it too). The mix is also kind of all over the place, and the rhythm is a bit loose. The solo didn’t do much for me, I didn’t get it if there was something it was trying to say, felt unfocused.

Grumpy Mike: Good pocket, good chorus, if conceptually a bit pedestrian. The breakdown is pretty good too. I am ok with solos that do the melody, but it was too many times without putting any Grumpy magic on the phrasing, which wasn’t the best choice, IMO. This song just has an excellent feel of knowing what it wants to be and executing it—I am not 100% on the mix coming out of the breakdown (or perhaps it’s the breakdown itself since I assume coming out it was going back to “normal”) but it’s a good effort overall.

Helen Robertson: Vocal mix doesn’t sound like it’s in the same space as the instrumentation, but there’s something catchy about the song, I mean there’s some good ideas here but it’s not really crafted together perfectly yet. The bridge doesn’t go enough to somewhere else to have a big impact coming back. I think you have some great tone in your voice though so I hope you’ll do more songs—I think you need more reps to really deliver with full confidence.

Hot Pink Halo: Vocal level, phrasing. In your case it’s being aware of how you’re ending or sustaining syllables, which makes it sound rhythmically loose. Needs more thought into how it’s creating emotion and feel, as it’s quite monotonous and unless that’s what you’re going for, it’s not getting me anywhere else. Building the song up via arrangement, instrumental or vocal, making key changes to parts, harmonies, etc. could all help this achieve a stronger impression.

Inflatable Vegetables: This is super catchy, good transition out from the chorus too. Maybe it’s because I like Joy Division but your particular type of intonation flatness is more listenable to me. The harmonies need a little work in execution, but the idea is right. I kind of wanted to hear more of this song when it ended. It does need a better ending anyway.

Jon Berger: I appreciate that you did something different with Fine, which is not a bad idea at all. But let’s also put aside the vocal execution choices and performance, which is not very compelling. Why these musical choices? And these mixing choices? Listen, it could entirely be me, but I don’t get it at all. It’s something of a cliché, the faux hard rock way too distorted guitars screaming their way through something with someone talk-singing on top. The vocal execution needs to be really good, phrasing-wise and feel-wise, which this doesn’t reach. Maybe some effects on the voice would’ve helped. To me guitars generally sound better and more powerful recorded with less distortion than more (listen to Malcolm in AC/DC, he really is almost clean, his sound is cranked JTM all the way). This type of thing works when the riff is really superior, and this riff isn’t that great, too generic.

Jon Eric: I admit I did that just so I could connect generic to Jon Eric. I like what you’re doing here conceptually, even though I think musically this song doesn’t have a strong point of view. I don’t like the sound of your voice on the sustained notes, but that’s because I feel like you’re trying too hard to be dramatic when you could pull it back and get the same or better effect IMO. I appreciate the flourishes you put in and there are great touches throughout the song, but I don’t know man, it just doesn’t sound that great. I can imagine a pretty good DT cover of this though hahahahaha.

Jules Iolyn: You have a good voice, although please watch the intonation (like everyone else haha). This kind of song with this kind of G+G arrangement needs to really blow me away honestly, and this didn’t get there. I needed a lot more thought into how to make it feel strongly. My taste, but I didn’t get strong feeling from your vocal, just that it sounds good.

Ken Mahru: So funny to go from Jules’ lo-fi recording to all this sheen and tasteful compression and touches of reverb. I like the sound of this song, but I really did want more than just I IV chugging away. At the same time, I do respect the commitment to a simple message delivered cleanly. Did I mention it sounds good?

Lichen Throat: I struggled with this song. I really liked things about the instrumental arrangement and sound, even though it’s a bit dark, but that’s ok for the song. The lyric keeps trying to cram too many words into the lines. And your delivery of the vocals isn’t rhythmically tight which hurts the feel, especially when everything else is tight. The double time drums do nothing for me, I think that’s actually a bad idea. But the beginning was a really great start so I hope to hear more of that from you, shadow or otherwise.

Lucky Spoon: This is just lovely. The vocal delivery is spot on. This, for me anyway, is the kind of song that stays sort of in a place but the vocal delivery sells it completely. I saw the lyrics archive later and I was like, no wonder, it sounds and feels authentic because of life. I even liked the silence at the end as an artistic choice.

Mandibles: My wife sang along to this also. I need a lot more drums in a song of this genre, like a lot. Unlike Glenn, I liked the repetitive “This is Fine” to yourself part, because that part had the most packed emotion to me. I don’t know, in your big chorus parts I almost feel like you’re not cutting loose with your voice enough, like it’s still restrained, and I kind of want to hear you blasting away the stupid fuckers as it were. I also wasn’t a huge fan of the guitar solo, which I have to be honest about, sounded to me like it was only half worked out and had to be recorded to finish the song. Especially when I hear power metal type stuff I kind of want to blown away in the metal way with a melodic but shredtastic guitar solo. At least a bunch of guitarmonies, a la Adrian, Dave, Janik.

Max Bombast: So catchy, so well thought-out. I love the double time guitars, that’s a great idea to gallop feel things and create that sense of movement between verse and chorus. The second verse kind of loses it a little for me before the chorus, little bit of unsureness there. I kind of wanted a bigger outro, you sound so dramatic naturally that that sort of thing really works for you.

Micah Sommersmith: This song is perfectly cromulent.

Moss Palace: Really beautiful, the Rhodes is nice. Ahhhhh nice vocal phrasing and mixing.

Nick M Soma: A few notes out on the vocals here and there, but song overall has a really good feel and I like the bass. Nice chord progression on the verse. The vocal melody is a little awkward though. Argh, cramming syllables into not enough beats. The phrasing leaves a little something to be desired too, but just a great little tune writing-wise.

Nuke Skyblaster Reporting for Duty!: Good rocking feel. The mix/master probably could’ve used a bit more time, but whatever. Super fun, catchy. The ending was a little bit of a letdown though, could’ve gone a bit bigger/designed with it.

Pigfarmer Jr.: This is pretty good too as a pop rock song. Intonation in spots needs work. The outro again, I wanted it to go somewhere and it really just didn’t.

Rain: From note one, I was like, yeah. I love the chorus, very cool. And I mean, the feel is cool, that’s really the best word for it. Good builds inside the verse just using vocal phrasings. I would’ve loved to put a solo on this. I’m seriously going to listen to it again even though it makes me take more time for the reviews because I love this.

Rob from Amersfoort: I like things about this song but nothing really grabs me. Like I like the orchestration, and the overall feel is pretty good, it knows what it wants to be, but it just doesn’t have the special melody or vocal or riff or whatever that would really made me like the song. Especially right after Rain’s song, where like everything about it just dripped cool.

see-man-ski: Groovy, I like the riff and how it sits in the groove. It doesn’t really go anywhere, but sometimes a good groove goes a long way. If there was more to this song it would rank higher for me, but I also don’t really know what this song is trying to say.

Starfinger: Very danceable, as usual. Some of the vocals are a little chaotic grid-wise. I appreciate all the variations and ways you keep my interest musically. The vocal is a little grating after a while.

Termere: This song starts out really well, high energy pounding beat, that stuff is good. After a while though, the sameyness starts getting to me. It’s not bad at all, it just doesn’t really stand out for me.

TerriEllen: The vocal level is too high. As I’ve said, G+G needs to really kick ass for me to like it, and this doesn’t get there. Like, the performances are ok but I don’t hear something that makes me sit up, sorry.

The Kraken Lives: Ok see I don’t hate screamo. And I dig thrash, so I’m not against this. This chorus though isn’t good, it’s kind of a mess especially with those harmonies. I really like the verses though. I like the guitar break too hahaha. And then if it had ripped for the last part of the song I probably would’ve tried to rig my vote to see if I could get this to pass hahaha.

The Lowest Bitter: I love when the guitar comes in. I like this version of the repeated thing better than the Mandibles one. Enjoyable mixing overall. This song is taking me on a journey, which I appreciate, even though there are no dog noises, that I heard anyway.

The Serviettes: I am not into this vocal performance and this reverb. You know honestly when I hear this much reverb on a vocal that’s not on anything else, it reminds me of a singer I used to work with who would always put too much reverb on his voice because he wasn’t confident in the tone of his voice. Eventually I forbade him from doing the effects on his own vocals. That young fellow grew up to be a famous vocalist. I’m saying all this because this song didn’t do much for me, it’s again like the other songs that were of minimal instrumentation/arrangement that didn’t seem to do enough emotionally or musically to grab me. Sorry, it’s not you, it’s me. Sadly, I’m a judge.

Third Cat: Hey this sounds great, lush and moody. You also have a touch too much reverb on your voice for me, but only a little. I really enjoyed this tune.

Vom Vorton (shadow): Can I tell you how much I hate Vom? Probably I can’t tell you, because it would take far too long. Maybe I should write a song about it. I couldn’t make him listen to it unless I was a contestant though, so I guess I’ll have to wait until next year to go all screamo F+D at him.
Last edited by mo on Thu May 14, 2020 8:19 am, edited 1 time in total.
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Caravan Ray
bono
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Re: Nur Ein XV Round Zero "This is Fine"

Post by Caravan Ray »

Congrats Glow Worm. You deserved the win and the kudos you have received.

For mine though, I thought Rain was the standout. That was a cracker. Who is Rain? Is that someone I know or another new chum?
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vowlvom
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Re: Nur Ein XV Round Zero "This is Fine"

Post by vowlvom »

Rain made it as far as the semifinal last year (and wrote some stunning songs in the process). Think that was their first Nur Ein.
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Lunkhead
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Re: Nur Ein XV Round Zero "This is Fine"

Post by Lunkhead »

@mo: my guitar solo in the BSS song got put in the wrong place. It starts a measure earlier than it's supposed to. I swear if you hear it slotted in correctly it sounds totally mind blowing!!! :P Also that's just slide guitar, not pedal steel.
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