Worse than nothing is not (Better Than Everything reviews)

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AJOwens
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by AJOwens »

Smalltown Mike wrote:
Sat Apr 11, 2020 4:22 am
Maybe earnest isn't the right word. The emotion felt overdone to me — like one of those overwrought 80s tunes. It didn't feel like you were actually emotional, just trying to sound emotional.
If I could butt in here, "too earnest" was also used to describe the Mandibles entry for Love in the Time Of (vowlvom). This might be a cultural issue. In some places it's the norm to be ironic, detached, "street smart," cynical, not too committed -- maybe to avoid being perceived as naive. In other places it's perfectly OK to be serious, particularly about innocent or hopeful themes. The trope goes back a long way, through Mr. Smith Goes to Washington, all the way to the old fable of City Mouse, Country Mouse. In our era of cultural sensitivity, it's something to keep in mind (quite apart from the larger philosophical issues).
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by WreckdoMelle »

Amby Moho - The electronic intro is neat. Interesting chord progressions/harmonies, dreamy and woozy, which is a good thing. I like the robot-sounding parts a lot.

Berkeley Social Scene - Week after week BSS cranks out consistenty good sounding, well made tunes and this is no exception. How do you do it??? Great job! I love the keyboard.

Brown Word and the Big Whine - I did the Uncharted Waters optional challenge a week early - did a bunch of stuff I never did before, all while staying home. Used horns, relied heavily on samples and effects, sang in a weird style I don't normally use, structured the song oddly, sort of on purpose. Thanks everyone for the reviews, I didn't expect to have such kind words said about this as I hadn't been really feeling motivated and had to struggle to get this out. :)

Cazaro Taro - Very Devo-like, so naturally I approve. Having ridden a scooter for many, many years that is how I felt every time I went anywhere on it.

Evil Grin - Strong guitar opening. I like the shuffly drums and the vocal accompaniment. Catchy chorus. The lead vox could be a little stronger in some places, but overall, good.

Gaping Maw - This seemed sort of quiet compared to the other songs I listed to, so I turned it up. I liked the gang vox and that organ tone is gooder, I've used similar myself. Nice shift in tone! Great bass tone and technique. I like this quite a bit! Feeling you on those black beans. Wait - did we go into a new song? I like it too. Great lyrics on that last bit.

Hot Pink Halo - I like the intro, big plus for hand claps. The guitar is pretty. I like the "I want it" breakdown a lot.

James Owens - Wow, this song is cool! The shifting chord progressions, the multi-track vocal accompaniments, the performance of the instrumentation, your voice. Really well produced. The 'S's are a little over emphasized in the mix but that's really the only thing that isn't perfect about this song. Great vox!

Mandibles - Great, clean guitar sound and clear, strong lead vox. That vocal accompaniment is beautiful. I love when the music broadens and that sparse percussion comes in, and how the music is percussive enough in the lighter areas to carry the beat. The female vocals are gorgeous.

Phlebia - Transgressive wall of fuzz - approve. I like the singing style with this, this all fits nicely. And the lyrics are nice, I feel like I'm there in your garden, which sounds like what King Colon and I have wanted for years but never get around to - this might be the chance...

Pigfarmer Jr. - Good guitar tone, you and PJ&A somehow manage to use fuzzy guitars without going into mud territory - what is the secret? Oh, I like the chord progression under the catchy chorus.

PJ&A - A solid rocker. I adore these vox and the cool minor chord progression. Great guitar tone. This is reminding me of Nirvana's more rockin' stuff. Good, short, sweet.

Seaweed Delete - I'm a huge fan of scary-sounding electronic tones. Child vocals are fun too, all those things they mention sound lovely. Oh, now I remember, this is child of Phlebia - cool!

Shoehorn TC - You've gone electric! Really lovely dual vocals, sort of reminds me of They Might Be Giants (who I like a lot). The music is so whimisical and beautiful. I found myself singing along by the end.

The Gross Tones - Whoa! A lot going on that intro, which is awesome. The vox are a little flat in some places though. Other than that, cool solos, and I like the vocal doubling and the positive lyrics.

The Lowest Bitter - Ah, a fade-in - cool! Samples, check. I started following the directions and I started feeling better. Thanks! This is a bit of a toe tapper when it gets going.

The Pannacotta Army - Another tune starting with strong clear guitars - really nice! Such a pretty chord progressions. I like the lyrics and the vocals, the ooo-ooo accompaniment, the percussion. Good!

Vom Vorton - Very dreamlike quality, I feel like I'm being lulled in a hammock, with that high-pitched percussive sound sort of like the snipping of some insect up in the trees. Short and sweet. I liked the last line a lot.
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Cybronica »

Smalltown Mike wrote:
Sat Apr 11, 2020 4:22 am
Maybe earnest isn't the right word. The emotion felt overdone to me — like one of those overwrought 80s tunes. It didn't feel like you were actually emotional, just trying to sound emotional.
Ah, I see! Thank you for explaining; I can see where you might get that impression.
“It's like opera for toddlers or something.” -furrypedro
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Adnama17 »

So, I did something different with my reviews this time. I actually have not listened to a single song yet, but have written up reviews of just your lyrics. A few of my thoughts/reasons behind this approach:

I wanted to see if your lyrics on their own sounded like what you recorded, without the music to influence me at first. Does what I hear in my head as I read, 'match' what you recorded? I'm dying to find out!

I do not feel I can adequately review the production value of your songs. Production is not my forte, and you guys do a good enough job of it without me.

Sometimes, so much of the focus here is on production that analysis of content is lost. I feel I can be more helpful with a contextual and structural review of your lyrics, and to me, that’s just as valuable as a production review.

A plug to please post your lyrics. It's so helpful. If you didn't post them, I didn't review you, so you lost a possible vote. <3

I’m in full NaPoWriMo mode, and am reviewing poems like crazy, so just slotted these reviews in. It’s where my brain is at right now. I love words. : )

Hope that works for everyone. If not, shrug.


Phlebia: I’ve been debating whether or not to try my hand at beets. I’ve got a lot going on in the yard this year already though, so maybe not. Anyways, all somewhat generic predictable imagery and word choice. Try spicing up your adjectives a bit, golden vs yellow, horrid vs nasty, royal vs purple. The stoplight/pepper bit is kinda weird to me. All this wholesome, wonderful planting talk, and you throw in a mechanical stop light. It doesn’t fit with the rest of it. What else is green and red? Or can you refer to spicy vs mild instead? All just food for thought. Mwahahahaha!

Seaweed Delete: That is a great list of great things! I like playing in creeks too, and the beach, and candy, and playing with blocks, and well almost everything on this list except eating seaweed. Keep up the good work! : )

AJOwens: Even just reading the lyrics, I can hear your sarcasm. And I agree, how odd. I don’t get people. The first verse rhymes well, but the near rhyme of China and finer in the second verse trips me up visually. Maybe spell it “fina”, which is probably closer to how you sang it I bet. (Or you could go vulgar, and rhyme China with vagina. That may not be your kinda thing, but it does fit contextually. Hahaha!) That bridge is legit. “He didn’t say that, stop being mean” describes him perfectly. That like has me visualizing a four year stomping away and yelling over his shoulder at his mom b/c she told him he couldn’t do something.

Pigfamer Jr: You know you’re one of my fave people on the entire planet, right? So I’m saying this b/c I care. You are in a lyrical rut, which I’m sure you already kinda (if not fully) realized. Granted I haven’t been listening to the other stuff you’re writing/posting in other places, but it is definitely a trend here on SF. It might be a quantity vs quality thing. You are writing like crazy, so naturally things will repeat. I know you’ve got better than this. <3

Brown Word and the Big Whine: There might be a musical reason why the first verse doesn’t rhyme like the others, but just reading it, it distracts. I was all set up for something more free verse, but ended up in structure, which is totally fine. It’s hard to blend the two well even for the best lyricists and poets. I like the repetition of “What’s better than everything?” and the answers that follow. It’s like a chant, a call and response reading of the Bible like at Catholic mass or more traditional church service. I can see the priest walking up and down the aisles, swinging his little incense thingy, and the congregation responding to what he says. (My apologies to all the Catholics here if I just butchered your religion.) Interesting take on the prompt for sure.

CazaroTaro: The repetition of the last words of the verses reminds me of shifting gears. You describe the scooter, how you care for it, and how it makes you feel very well, creating great visuals in my head. A rather simple set of lyrics, so not much to say, but it does hit the proverbial warm and fuzzy spot b/c of how much it means to you. I can feel how happy it makes you for sure.

The Pannacotta Army: Those verses are great! Matter-of-fact, slightly sassy, confident, and a little bit ‘fuck you’. So the switch to the chorus lyrics where you need this love interest like a drug, they’re better than everything, etc., doesn’t really go with the verses to me. Are you confident and don’t need anyone but yourself, or are you addicted to someone and what they do for you? I want to like this a lot, but will have a hard time with the dissonance between the verses and the chorus.

The Lowest Bitter: Golly, that’s good. You’ve captured your feelings brilliantly. We are all handling this situation in our own way, but so much of this universal at the same. My son has been diagnosed with an anxiety disorder also, and this describes him perfectly. While I cannot begin to understand how this feels for you or my son, I know what this creates for you and those around situationally and emotionally, so this is extra evocative for me personally. I just want to bundle you all up and make it all go away, but I can’t. You’ve brought out the Mama Bear in me. Hugs!

Mandibles: Those first two verses rhyme so beautifully, nicely structured also. And ‘chancel’ is a word I never thought I’d see here at Song Fight! Nice. That third verse really drives the message of the whole thing home. I’m getting quite the Buddhist vibe from this as a whole. The last verse though, I can’t decide how I feel about it. It fits contextually just fine, and I like how it goes back to the form of the first two verses, but something about it just doesn’t sit as comfortably as the rest of it. Oh, it might be the perspective. The first two verses all have ‘you’ speaking, “I feel”, “I wouldn’t dare”, etc. The last one does not. Yup. That’s it. I feel better now! Hahaha! At any rate, this is a great write.

Vom Vorton: And I thought I was clever using “worse than nothing” in the Evil Grin song, but here you are making me feel generic. Hahahahahaha! Totally kidding. : ) Simple, but effective. Sometimes, and I am guilty of this more often than not, we overthink lyrics. Shocking, I know. Artists never overthink anything, right? Not a fan of the near rhyme of sure/floor, unless you pronounced it ‘flure’, but that would sound really weird to most of us. Like the subtle change in the chorus from “feels hollowed out” to “has fallen out”. A little tweak like that can sometimes make a big difference.

Hot Pink Halo: Took me a minute to sort out the rhyme scheme in what I am assuming are the verses, the first and third stanzas, and it is interesting for sure. I dig it. The tulips, starlings, and daisies are concrete, physical images. I can walk up and touch each one. And while I can kind of do the same with “morning sunshine”, it’s more of a sensation, more abstract, less physically tangible. Not a criticism; just an observation. Absolutely love that chorus. I’ve done a lot of spring/gardening/planting therapy in the last couple of weeks, so it hit me just right. That fourth stanza seems slightly out of place. You’ve got all these beautiful descriptions of spring, and then a section about someone specific. I need a bit of a transition to make the leap with you.

Gaping Maw: I find this hard to follow just reading it. I am trying to enjoy it, but am distracted trying to figure out how it works more than anything else. Maybe that’s just a function of how you typed it out. When I finally listen to this, is it rap/hip hop/edm something something? That’s what I’m hoping for, b/c then it’ll probably make more sense structurally. And when you rhyme, you fucking rhyme the snot of it. Nice. Contextually, those rhyming sections are killer. You say so much with very few words. I love word economy, not a single wasted word. It makes my day!

Berkeley Social Scene: What a gutting read. I was all hopeful in the beginning, drawn in by that “young and dumb” phrase, and then all my hopes get dashed against the rocks and drowned. You’ve evoked a very strong emotional response, that’s for sure. Golly! Structurally well put together, the phrasing is good, it flows easily one section to the next. It’s like you’ve done this before. I know I haven’t listened to a ton of your stuff, but I wonder what you would create with less structure. You always seem so neat and tidy. Not a bad thing b/c structure sells, just listen to any pop song. But is there a messier side to BSS? The situation you described is messy, so should it sound neat and tidy? When I listen, I’m hoping for some chaos. : )
And now it seems to me the beautiful uncut hair of graves -Walt Whitman
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by vowlvom »

Adnama17 wrote:
Sun Apr 12, 2020 11:39 am
Not a fan of the near rhyme of sure/floor, unless you pronounced it ‘flure’, but that would sound really weird to most of us.
I pronounced them shore and floor, which isn't a near-rhyme in whatever my accent is!

Yeah I noticed that we both went for "worse than nothing". Great minds!
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Adnama17 »

vowlvom wrote:
Sun Apr 12, 2020 12:09 pm
Adnama17 wrote:
Sun Apr 12, 2020 11:39 am
Not a fan of the near rhyme of sure/floor, unless you pronounced it ‘flure’, but that would sound really weird to most of us.
I pronounced them shore and floor, which isn't a near-rhyme in whatever my accent is!
Oh thank god! That was really bugging me. : )
And now it seems to me the beautiful uncut hair of graves -Walt Whitman
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by crumpart »

Time to have a go at some reviews! I normally listen to the songs a few times then review. This time I've listened once through, and am going to listen to each one again now as I write. I starred a lot of these songs in my podcast app on the first listen, so good fight everyone!

Amby Moho:
The beats on this are immediately really interesting. I think all the little detail sounds are working really well to create a compelling atmosphere. The combination of the processing on the vocals (which I'm enjoying sonically) and all the detail sounds are distracting me from what the lyrics actually are, but that very much seems like it's a deliberate choice. I didn't give this a star on my first listen, but probably should have because I really like it.

Berkeley Social Scene:
I think the crunch of the guitar that's in the background combined with the tone of that keyboard/synth line is a cool contrast. There's a monotone quality to the singing on this that I think some people might find a bit samey, but I think it beds in well with all the other sounds, and I like the little touches of harmony here and there. The mix is very schmick. Good job. I know the song was supposed to end at 3:22, but I actually really love the accidental false ending and didn't originally realise it wasn't supposed to be there. Sometimes a mistake is definitely a mistake, but in my life as a visual artist, I try to deliberately work in room for "mistakes" in the process as I've found the flexibility that approach brings (particularly to printmaking, which is my main visual art medium) really refreshing and beneficial.

Brown Word and the Big Whine:
The opening to this is really lush, and the instrument choices are very cool. Love me some horns. I think you could try processing or placing the vocals a little more confidently, as the way they're sitting now is fighting a bit with the instrumentation. The call and response between the vocal lines and the horns is fun. I find myself not paying much attention to the lyrics, and the only line that's sticking in my brain is "what's better than everything", purely because it's repeated so many times.

CazaroTaro:
This one stood out to me because I just covered a song called "Motor Scooter" for @chumpy in the Gift of Song. I love your repetition of the last word in each verse line; it works very well with the style of the song and the staccato style vocal delivery. This is a super fun song and another of those that should have probably got a star on the first listen. One note on articulation: I keep mishearing the first line as "I just fucked a motor scooter" which, um, changes everything.

Evil Grin:
Very clearly an Evil Grin song from the very opening notes. I really like the line "I'm a puddle, just walk on through"; it's very evocative. If it was me mixing, I'd try and process the voices with a little more confidence: both of the vocal lines are really lovely together and I'd make them more of an upfront feature. The lyrics are based on an emotion, so I want to be able to hear that coming through in the vocal performances more clearly.

Gaping Maw:
Very cool sounding bass; it's simple but still gives off a great vibe. The change of pace is very nicely timed, and feels good after all that repetition of the same line. You've somehow managed to trick me into not realising that this song is five minutes long, so well done! The organs and such are all tops, and I'm a real sucker for handclaps. I think the mixing of the vocals in the second part of the song is more successful than the first part. And we've just changed again! "And we can do this forever" is the perfect line to come in there, and I love the stacking of rhyme on rhyme on rhyme on rhyme on rhyme on rhyme. Good job!

The Gross Tones:
Your songs always start off very cool sounding, but the vocal delivery consistently errs on the side of being flat and lifeless. If you can work on improving your tone and injecting a little more soul and emotion to the singing, your songs as a whole will be much better. I realise that's a touch rich coming from me, a person who is very definitely not the greatest singer in the world, but... <shrugemoji>

Hot Pink Halo:
Speaking of me, it's me! Thanks for all the reviews so far. Amanda, I particularly appreciated your reviews of the lyrics without having listened to the songs. As someone for whom the lyrics are important, and what I consider to be the high point of my process, I appreciate it! I'd be interested to hear what you have to say after actually listening.
This song was written, recorded and mixed in a day after the deadline had already passed and I realised I still had a short window of opportunity to get something in. For a brief history of my musical past: I grew up in a house where playing music was the norm, but being the fifth of six kids (I sometimes refer to myself as the "fifth and forgotten child"...), I never had any kind of lessons outside of regular school music classes. My oldest sister had organ lessons and played at church, so we had an organ in the house along with a lot of sheet music, which was regular reading for me. For example, my primary relationship to the Beatles was through a giant anthology of sheet music that had drawings by John Lennon scattered throughout (my favourite was a picture he'd drawn of Sexy Sadie, who was in the nude, and either putting on or taking off a second nude skin suit). We also had a nylon string guitar at some point, which, with so many kids around, I didn't get to play that much. When I left home at 18 and simultaneously embarked on an Ani DiFranco binge, I taught myself to read tab and learned a bunch of her songs on guitar. By this time I'd met Toshiro, so again, there were a lot of instruments around and he was making music, but I didn't really play them that much. After a while I stopped playing again and didn't pick the guitar up until exactly a year ago, when I bought my own cheap guitar and started making a concerted attempt to learn again. Then a few month later @gizo and I started songfighting and thanks to this place my playing has improved pretty rapidly, if I do say so myself. That's the long story of why my timing isn't so great, and it's something I'm aware of and always trying to improve. Usually I go through and either re-record again and again, and/or correct any glaring errors using flex in Logic, but this time I chose not to do any of that, partially because I was already past the deadline, and partially because I was comfortable with a more human approach coming through on this particular song.
I wrote this coming off my first two weeks in self-isolation originally imposed by travel. When the pandemic broke out, we were 17445km from home, visiting Australia for a month for the first time since leaving three years ago (not counting my week long fleeting trip last year when my mum was sick). As the news was breaking, we were staying in various friends houses, and overall spent about 60 hours in planes and airports. When we finally got home, there was that two weeks of "do I have it? what about now? what if I have it? do I have it?", during which time self-isolation was handed down to everyone, not just those of us who'd travelled internationally. We're headed into week four of our isolation now, and spring is well and truly breaking outside. When we originally left Ireland, the weather was absolutely foul, as winter had its last hurrah, and we flew into the end of Australian summer as they headed into autumn. We came back to my tulips about to open, and blossoms on the verge all around us. We're not allowed to go further than 2km unless we need groceries or for essential work, but we do get to walk in that 2km radius bubble, and seeing all the trees and hedges come to life has been a bittersweet delight. We live in an estate smack bang in the middle of a rural farming community, and it's super humid here, so the smell of the blossoms, ivy and gorse combined with cattle farming aromas really envelop you in an overwhelming way at times. One of the subtler symptoms I've read about Covid-19 is that it takes your sense of smell away, so I wanted to write this song about that discordance that exists between enjoying this beautiful spring weather while knowing that there are so many people suffering and dying from this, and also using that indicator of scent to reassure myself that I'm ok for now.
I deliberately kept the lyrics diffuse enough that they can be enjoyed on a non-pandemic level, but I also deliberately reworked them to be double-edged, with quite a few references to violence and death. Are there technical things I'd change: yeah. Am I happy with the song as a whole: also yeah.

James Owens:
I always like this call and response lead vocal / backing vocal vibe. It seems like such a simple thing to do on the surface, but for all my trying I haven't figured out how to do it successfully yet. I'm enjoying the general sound of this. The lyrics don't pull me in; I'm not sure if it's the writing, melody or my automatic reaction to avoid anything that appears to reference the dickhead in charge of the USA. I think it was a good move to open with that hook line.

The Lowest Bitter:
The fade in is a nice touch. I'm not sure if I'd follow all the lyrics if I hadn't read them prior to listening to the song. Knowing what it's about though, I think that the mix and delivery is pretty spot on. The layering of the different lyric lines is really effective. I'm also a long term propranolol user, and have always enjoyed its name. I refer to it mentally as my trololololol drug. I was prescribed it for a different purpose, but I do suffer from anxiety and when I found out that what I was taking doubled as anti-anxiety medication, I was pretty happy. It's much harder and more expensive for me to find the dosage I take in Ireland (usually I end up taking multiple 10mg tablets each day from blister packs I can't recycle, that could go to people on that dose instead), so when I was home in Australia a few weeks ago my doctor wrote me a ginormous prescription and I was able to bring home two years worth of pills in my actual dosage for a fraction of the price I pay here. Hooray for stockpiling propranolol!

Mandibles:
I love this. The male voice is wonderful, and I think it works really well with the female backing vocals. The mix on the vocals is really well balanced. The minimal instrumentation was a really solid choice to complement the singing.

The Pannacotta Army:
The Pannacotta Army is a delightful band name. Fucken handclaps yeah! There's some lovely little bits of instrumentation in the mix. I really like the arpeggiated guitar chords, the little synthy twiddling and bits of piano in there. This is one of those songs where I'm too busy listening to all the fun bits in the mix to pay any attention to what the actual words are, so I'm not really grabbed by it on a lyrical front, but performance wise I think it's great.

Phlebia:
This is super fun. There are a couple of little adjustments I'd make to the lyrics to help with flow (for example, I'd change "I grab my shovel" to "Grabbed my shovel"). You're slowly winning me over to this style of music, and this thoroughly enjoyable and I like it. Perfect length.

Pigfarmer Jr:
Again, I can immediately tell that this a Pigfarmer song. Stylistically has a little of the Matthew Sweet 'Girlfriend' album vibe about it, which is something I always encourage. I can't imagine that you've not heard that album, but if you haven't, I highly recommend having a listen to some of the arrangements on it. Also have a listen to 'In Reverse', which is his Beach Boys 'Pet Sounds' influenced album.

PJ&A:
I'd love to hear a version of this where you're spitting out the lyrics in a really gravelly, over-wrought way. As it is, it's still enjoyable, but it would be interesting to hear it done in a really punky, full-on, high energy style. The way the melody goes down at the end of the chorus is a good choice, and that's reiterated in the way the song ends.

Seaweed Delete:
This is super cute. The delivery on "these are the things that are better than everything" is just lovely. Seaweed Delete is also an excellent band name.

ShoehornTC:
This ticks all my boxes. The doubling/harmony is working really well for the song, and I'm also really enjoying some of the grammatically incorrect lyric stylings (eg, "and a song is just magically wrote"); they mirror the story of the song really well.

Vom Vorton:
That's an interesting beat sound in the background; very 'hammer on the inside of the skull caused by hangover'. The gentle delivery of the lyrics and the guitar playing are a nice counterpoint for the theme of feeling like absolute rubbish. It's been a while, but I can very much identify with these words.
Devil’s got me Lindt! Devil’s got me Lindt!
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by CazaroTaro »

Seventeen entries to evaluate! Groan. I spent a long time on these comments:


The Gross Tones: I sensed a hint of George Harrison. Delay on the vocals seems a bit too long. Noodly synth was distracting.

Brown Word and the Big Whine: Good intro. Good instrumentation and arrangement.

PJ&A: Distorted guitars and anger. It’s rock and roll.

Amby Moho: Dreamy vibe. Glissando on vocals makes them largely unintelligible. No posted lyrics to help. End did not ring out as much as I expected.

Seaweed Delete: Nice distinctive backing track. Vocals a little low in mix.

Mandibles: To be heard in an upcoming Disney film? Excellent entry.

Evil Grin: Nice duet. Relationship songs aren’t my thing, but this is a pleasant listen.

The Pannacota Army: Good instrumentation and arrangement. Well sung. Upbeat. I like upbeat.

Phlebia: Very dark sound for a gardening song. Forced labor?

Berkeley Social Scene: Solid song.

The Lowest Bitter: Good integration of spoken word and music. Nice instrumentation and vocals.

Hot Pink Halo: A little too droney. I just can’t match the music to the lyrics. I’m too thick to figure it out.

Pigfarmer Jr.: Do you ever sing about a relationship that works out?

Shoehorn TC: Pleasant listen.

Gaping Maw: Three songs crammed into one. Went from decent to great.

James Owens: Retro sound with a whiff of political commentary.

Vom Vorton: The only message I got was to drink in moderation. . .
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by vowlvom »

I've just had a second attempt at writing reviews for this fight but I'm really struggling to say anything constructive about why I don't like the ones that I don't like, and I don't want to just sound like a jerk.

So I'll just say that I loved the Amby Moho song, good work Amby Moho. Also enjoyed CazaroTaro, Lowest Bitter, Pannacotta Army, Seaweed Delete and ShoehornTC.
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Pigfarmer Jr
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Pigfarmer Jr »

CazaroTaro wrote:
Mon Apr 13, 2020 8:51 am
Pigfarmer Jr.: Do you ever sing about a relationship that works out?
I did that once and now my wife has been hounding me for twenty years to do it again. I'll never make that mistake again.
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Lunkhead »

Mandibles wins.
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thehipcola
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by thehipcola »

Congrats, Mandibles! Great track.
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by crumpart »

Congrats Mandibles! I really enjoyed your song.
Devil’s got me Lindt! Devil’s got me Lindt!
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by vowlvom »

Mandibles in demandibles! Congrats!
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Pigfarmer Jr »

Well deserved win. Congratz Mandibles.
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the panna cotta army
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by the panna cotta army »

Well done Mandibles - you just pipped me ;)
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by Cybronica »

Aaaahhh thanks so much, all! Truth is the mastermind behind the song. This was a delight to work on! :)
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Re: Worse than nothing is not (Better Than Everything reviews)

Post by amby_moho »

Hey all ! first time really posting on here besides my lyric post for this week's fight
Just wanted to say thanks for the feedback on my track, and thanks for having such a cool & open community here. I said this in my lyric post but i've been aware of this site for maybe 15 years back since when a few friends were involved at that time, and I've always thought it was such a cool and fun idea. A nice excuse to make songs you wouldn't otherwise make! So yeah thanks again, and look forward to submitting again from time to time, and hearing other people's ideas :)

- Andy
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