It's not my fault (I Can’t Turn It Off reviews)

[lichenthroat]

add—Great overall sound and mix. I wasn’t a huge fan of the vocal melody, but this sounds like a well produced, well performed, fully realized song.

Balls to Monte—This sounds like a previously unreleased rarity from The Who, except that the drums lack the wild abandon. I think you hit the nail about 99% on the head. I enjoyed this a lot.

Brown Word and the Big Whine—The busy, dense arrangement is great for this song. This is your best production job that I can recall. I feel exhausted at the end, which is just as it should be.

Cloverdance—The beginning seems kind of abrupt; this could use more of an intro. I like your voice; the subdued tone fits well with the song. I like the elegiac tone, too.

Future Boy—Maybe because I’m writing this on December 23, the music for this sounds like it could be Christmas song. I like how you’ve separated all the instruments so well in the mix. The high note in “losses instead of the gains” is a great touch.

Glenn Case—I can’t decide whether I like the weird percussion sounds or not. I like how you mixed the backing vocal. This would sound good on the dance floor.

The Gross Tones—The chorus is a highlight, and I like how it spills over into the next verse a little. This doesn’t really grab me, but it’s pretty solid.

Hot Pink Halo—Your voice sounds great here. There’s a lot going on in this song, but it never sounds too busy. Good production. I’m envious of our ability to make simple, quiet songs have so much depth.

JP Nicholas—The guitar seems too prominent in the mix. I like the tone of both the guitars, though. It sounds like you’re singing toward the high end of your range, and I think the song might sound better a little lower. The song feels a little overwrought, but in a cool, fun way that actually contributes to the atmosphere.

Lichen Throat (me)—The mix came out unpleasantly relentless. I’m not sure why, but this was unusually difficult for me to sing. I like the music and the lyrics, but I don’t like most of my vocal performance. I think there’s a good song here, but it’ll take someone more skilled to record it correctly. I was happy to get some positive comments on the lyrics; I was worried that they were too obscure.

Night Sky—I would completely accept this as a popular song from the early 20th century, if I didn’t know better. It’s far from my favorite genre, but that’s ’cause of me, not ’cause of you. Performances and production are excellent.

Onslaught of the Lamb feat. BFFs—Effective as social commentary. Drums sound great. Samples are well chosen.

The Pannacotta Army—Not my favorite of yours, but there’s nothing to genuinely complain about. The performances are good, as is the production. I like the warm, full guitar tone in the solo. The level of craftsmanship is high.

Phlebia—The intro is pleasantly echoey with a hint of menace. I like the lyrics. I like the quiet parts more than the loud, but that’s a genre bias thing. As usual, I’d rather listen to you make this kind of music than anybody else.

Pigfarmer Jr—I know too much about dams and their maintenance to avoid being distracted by the technical content of the lyrics, but that won’t be a issue for more than 0.001% of listeners. By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency. Okay, enough pedantry. The song sounds good, especially the guitar tones and performances.

Possum Sauce—This is exactly how a song on this style should sound, with the staccato keyboard notes, prominent bass (if that’s not a low guitar), and even-toned vocal. Good work.

R. Mosquito—This sounds authentically 80s New Wave. Your vocal delivery is excellent for the genre. In fact, this song could be a museum exemplar of the genre. I like it.

seemanski—The double (triple?) tracked vocal sounds good, and the sense of uncertainty it conveys is appropriate for the lyrical content. I think the song might be enhanced by a louder, more raucous section, but everything that’s here sounds good.

Stacking Theory—This begs for more chord changes, but otherwise it sounds very good. I like your vocal performance and timbre. Kinda wish it was longer.

Test Data—Sorry man, I didn’t make it through more than once. This reminds me conceptually of Lou Reed’s Metal Machine Music, which I’ve never made it all the way through, so you’re ahead of him.

Third Cat—Yeah, yeah, thumbs up! This could be my favorite of yours. This is just excellent. Everything sounds great: mix, vocal, songwriting. Keep doing this.

Za—I think you’ve successfully brought the funk. I’m not sure if I’d prefer a more bombastic vocal, or if I like the even-toned vocal as contrast with the rest of the song. Very nice.

[sleepysilverdoor]

Bah I keep meaning to get my reviews done but pre-christmas, pre-natal chaos is precluding it. I'll try!

[Pigfarmer Jr]

Pigfarmer Jr—I know too much about dams and their maintenance to avoid being distracted by the technical content of the lyrics, but that won’t be a issue for more than 0.001% of listeners. By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency. Okay, enough pedantry. The song sounds good, especially the guitar tones and performances.

Guilty as charged. However, this song was based on the Val di Strava dam collapse in Italy back in the '80's. So it isn't completely made up. By my count it was less than 20 years from the completion of the dam, but I can't remember how many stages or how long it was from the construction start date.

[sleepysilverdoor]

By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency

Are you USACE? I know you're a different region as me but yeah 1969 is pretty new by dam standards in this part of the country too.

There was a massive wave of dam construction as part of the New Deal infrastructure project, so I suspect that many of them were funded in part by the FDR administration. Though looking through a list of dams in our area, so far I've seen 1930, 1929, 1968, 1962...all four of the locks on the Black Warrior River were built in the 1930s. My great uncle died falling off of a dam in West Virginia in the 1930s. I had to go through like 9 different regional dams on Google until I found one built more recently than 1969, and that's Wallace Dam on the Oconee which was built in 1978.

AFAIK the most recent *major* hydro-engineering project in the US would be the Tennessee-Tombigbee waterway which was mostly done in the 80s.

[lichenthroat]

Pigfarmer Jr—I know too much about dams and their maintenance to avoid being distracted by the technical content of the lyrics, but that won’t be a issue for more than 0.001% of listeners. By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency. Okay, enough pedantry. The song sounds good, especially the guitar tones and performances.

Guilty as charged. However, this song was based on the Val di Strava dam collapse in Italy back in the '80's. So it isn't completely made up. By my count it was less than 20 years from the completion of the dam, but I can't remember how many stages or how long it was from the construction start date.

I hadn't heard of the Val di Strava dam before, but it looks like that was a tailings dam associated with mine operation. Those are typically not designed to the same standards as dams on main river stems that are intended for flood control, water storage, or hydroelectric power. Anything involving mine waste tends to be vulnerable to geotechnical failure, since the ground is disturbed so much and the facilities usually grow over long periods of time, rather than being comprehensively planned. There is a long history of mining-related flood disasters, most recently including the Gold King Mine wastewater spill.

Perhaps unintuitively, the most dangerous time in a dam's lifecycle is typically when it is being initially filled. One of the most famous dam failures in the United States, Teton Dam, failed during its initial filling in 1976.

By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency

Are you USACE? I know you're a different region as me but yeah 1969 is pretty new by dam standards in this part of the country too.

There was a massive wave of dam construction as part of the New Deal infrastructure project, so I suspect that many of them were funded in part by the FDR administration. Though looking through a list of dams in our area, so far I've seen 1930, 1929, 1968, 1962...all four of the locks on the Black Warrior River were built in the 1930s. My great uncle died falling off of a dam in West Virginia in the 1930s. I had to go through like 9 different regional dams on Google until I found one built more recently than 1969, and that's Wallace Dam on the Oconee which was built in 1978.

AFAIK the most recent *major* hydro-engineering project in the US would be the Tennessee-Tombigbee waterway which was mostly done in the 80s.

I work for the Bureau of Reclamation, not USACE, but our dams are intermingled with theirs on the same river system. The newest dam in our area, Nambe Falls Dam, was built in 1976. Our tallest dam, Elephant Butte Dam, was completed way back in 1916. It's crazy to look at the construction photos and see a big concrete dam being built with mules and human labor, rather than heavy equipment.

[sleepysilverdoor]

Pigfarmer Jr—I know too much about dams and their maintenance to avoid being distracted by the technical content of the lyrics, but that won’t be a issue for more than 0.001% of listeners. By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency. Okay, enough pedantry. The song sounds good, especially the guitar tones and performances.

Guilty as charged. However, this song was based on the Val di Strava dam collapse in Italy back in the '80's. So it isn't completely made up. By my count it was less than 20 years from the completion of the dam, but I can't remember how many stages or how long it was from the construction start date.

I hadn't heard of the Val di Strava dam before, but it looks like that was a tailings dam associated with mine operation. Those are typically not designed to the same standards as dams on main river stems that are intended for flood control, water storage, or hydroelectric power. Anything involving mine waste tends to be vulnerable to geotechnical failure, since the ground is disturbed so much and the facilities usually grow over long periods of time, rather than being comprehensively planned. There is a long history of mining-related flood disasters, most recently including the Gold King Mine wastewater spill.

Perhaps unintuitively, the most dangerous time in a dam's lifecycle is typically when it is being initially filled. One of the most famous dam failures in the United States, Teton Dam, failed during its initial filling in 1976.

By the way, a dam built in 1969 would be significantly newer than most of the dams administered by my agency

Are you USACE? I know you're a different region as me but yeah 1969 is pretty new by dam standards in this part of the country too.

There was a massive wave of dam construction as part of the New Deal infrastructure project, so I suspect that many of them were funded in part by the FDR administration. Though looking through a list of dams in our area, so far I've seen 1930, 1929, 1968, 1962...all four of the locks on the Black Warrior River were built in the 1930s. My great uncle died falling off of a dam in West Virginia in the 1930s. I had to go through like 9 different regional dams on Google until I found one built more recently than 1969, and that's Wallace Dam on the Oconee which was built in 1978.

AFAIK the most recent *major* hydro-engineering project in the US would be the Tennessee-Tombigbee waterway which was mostly done in the 80s.

I work for the Bureau of Reclamation, not USACE, but our dams are intermingled with theirs on the same river system. The newest dam in our area, Nambe Falls Dam, was built in 1976. Our tallest dam, Elephant Butte Dam, was completed way back in 1916. It's crazy to look at the construction photos and see a big concrete dam being built with mules and human labor, rather than heavy equipment.

I'm pretty sure that's how pretty much all of them were built back then. I don't directly interact with the dams themselves, but I'm regularly in contact with the USACE staff and various regional power companies that operate them, maintain pool levels, control discharges/power generation, and all those trappings of reservoir operations. We use it as part of river forecast operations, stage and discharge and pool elevation and whatnot. I'm not USACE either, I work for NOAA. Since we never directly interact with the Bureau of Reclamation, I can only assume that they aren't really much of a presence in this part of the country. Maybe some of the hydrological forecasters in your part of the country work with y'all more closely.

I'm unaware of any catastrophic dam failures in recent years, but there was a very touchy situation around Lake Guajataca in NW Puerto Rico after Maria went through there. Lots of coordination, way too much water, some structural damage, and very poor radar data availability while it was getting repaired.

Actually I take that back, the TVA Kingston Fossil Plant coal fly ash spill back in 2008 did a lot of ecological and property damage along the Clinch River in TN. Maybe someone ought to write a song about that one.

[sleepysilverdoor]

Add - The drums in this make me exceptionally happy and it’s got that kind of Bo Diddly type guitar rhythm that seems to always kind of work in pretty much every song that I hear it in. The busy percussion is really work. I’m not sure how much I love the boppy synth, but the periodic reversed guitar tracks are exceptionally nice sounding. Melody is pretty good. Attention sort of starts wandering about ⅔ of the way through the track for whatever reason. Could be post-christmas fatigue.

Balls to Monte - And another excellent entry to the canon of delightful kind of 70s tinged throwback rock. Who would you say is your biggest influence as a vocalist? Like I can’t really place it. Granted your source era is one that I appreciate but haven’t really explored too immensely. Though I did listen to Traffic for like 3 hours yesterday. But this doesn’t sound like that. I like the chord progressions here. An excellent, non-explicit tale suggestive of a sexy encounter with a mysterious woman.

Brown Word and the Big Whine - Oh man that synth. That driving beat. So many toms! I know this is synthetic drums but I like the periodic stick clicks that are going on as part of the beat, it adds a “fake authenticity” to the perc track, if that make sense. Guitar track sounds a little bit muddy. Vocals are well mixed and work well with the rest of the song. You’re one of those SF artists that I notice getting better and better as you settle into a somewhat distinct style. Now, what is this song about? Other than getting SUPER PUMPED I couldn’t tell you but it gets me stoked and I love it.

Cloverdance - Kind of mellow. Simple structure. Inoffensive, but I rarely go for mellow and inoffensive. I don’t actively dislike it, but it doesn’t really grab my attention at all. Lyrics are fascinating. I’m not sure I quite understand it, but they work and they make me think. And I like lyrics that aren’t super direct. So that’s cool, even though the song itself kind of bored me.

Future Boy - The instrumentation here and the rapid fire changing of synth voices is something that’s extremely subtle but I like a lot. This is sedate done right. Of course I find myself paying so much attention to the neat “how many synth banks can we cycle through” effect so much that I ignore the lyrics, but upon reading them they’re an excellent reflection on thinking too hard and bumming yourself out.

Glenn Case - Glenn...and your chords. And your synth bass. And your neat sounding recordings. You’ve got a bit more “ramshackle” of a percussion track in this one than I usually hear from you. And you’ve got some really interesting synth choices that I like. Vocal harmonies are on point! Ends a little too soon, imo -- right when I’m really getting into it it’s over! Actually this track got me in the mood for listening to more Glenn Case songs. Good thing you have 400 albums on Spotify, how do you even do it?

Gross Tones - You’ve returned! Stick around and hang out with us, don’t be a stranger! I dig that sustained bend at the end into that rockin’ guitar solo. Much less noodly synth than the last few Gross Tones entries, which I like. The mix feels a little “thin”, but I’m not sure how I’d resolve it other than maybe a dash of reverb or compression in some places? Those rockin’ blues scale based solos, more of those plz!

Hot Pink Halo - 5/4 fits you! You should hang out in these meters a bit more. The hard panning in the mix sounds pretty good, even though it may be just a bit wider than I’d usually go for. The sedate percussion and spacies mix that just sound of floats around reminds me of turn of the century Bjork sonically -- just without the soaring high notes and thick icelandic accent. But admittedly your art-school tendencies may also what’s bringing my brain there. And those soft synths in the background. I mentioned Brown Word as an artist that’s really found a style that works with her in her review and I could say the same about you. As with many of the lyrics this week apparently, these do a good job at being opaque but interesting. I like opaque but interesting.

JP Nickolas - After your ostentatious metalfests of the past few fights, this did not immediately leap out to me as a JP Nickolas track…but especially once those distorted guitar leads and arpeggios appeared in the background it became a lot more obvious who I was dealing with! This is a nice change of pace. Lyrically, I’m only somewhat sure that I relate if only because I don’t quite use my desk for everything, and when I’m not teleworking I rarely spend much time in my bedroom. Of course right now I am...writing songfight reviews! Oh yeah. The song. I like the change of pace. I didn’t find it particularly memorable, not much of a hook to latch onto. But I like a lot of things about it?

Lichen Throat - This sounds like the mix is clipping in quite a few places, like you’ve got it pushed into the red sometimes. Of course it also hase the pleasant “fullness” effect that’s really hard to get with synth guitars. The distortion sounds good, I’d just maybe turn it down a bit. I have absolutely no ideas what you’re talking about in your lyrics but I like them. You know what I’d like to hear? A song like this but like 30 bpm slower. Like take this aesthetic and DIRGIFY it. I don’t know, I dig your style and I’m never sure how to critique it haha.

Night Sky - I’d go look at the Night Sky but it’s really cold and I don’t want to go outside. I guess I could. But I don’t want to. Production is nice, maybe a little on the quiet side. Either just turn things up a hair or throw just a dash of compression on the master bus and it’d probably work better. This has a nice bop to it. I’m trying to figure out if there’s a song that I’ve heard this chord progression in. And weirdly one of the only ones that comes to mind is “Rubber Ducky” which isn’t condescending at all cause it’s a bop. This is very enjoyable! Keep on bringing the jazz!

Onslaught of the Lambs feat BFF - I really like the synths. I like the actual sung refrain. I do not like the samples at all, until the end when it gets to “ignorance and power!” repeated which could be turned into a song all by itself. Mostly I’m just tired of hearing Trumps voice. This needs a heavy kick and something ridiculous like “MUSCLE AND HATE” or some Nitzer Ebb type sounds to be more compelling to me. Like the vocal hook *could* be expanded into a song that is really cool but this just feels super underdeveloped. But the synths are neat?

Pannacotta Army - This is nice and groovy. Guitar solo is good. Honestly I wish this were the last track of the fight. This seems like a great choice for the last track of the album, but since I’m listening alphabetically I know what’s coming next and it’s a heavy-ass riff and my own voice yelling about a messy toddler. Anyway. I really like this song. Production and performance are tight as usual. Lyrics are also pretty good. I’ve been listening to that old Incubus song “Idiot Box” lately which covers similar lyrical themes and...yeah, they resonate with me a lot. I’m not big on TV. Unless it’s overwrought surgical dramas. Or weather reports. Or Battlebots. I love Battlebots.

Phlebia - Gradually figuring out how to do heavy and get the mix not sound totally flat. Cause I know that’s probably my biggest weakness. That and lack of time to do things with finesse. Anyway, I wanted to see what it would sound like if I tried to put a bunch of gravel in my throat for the vocal performance. Lyrics are essentially an ode to having to clean up after a 2 year old over and over and over but he’s so cute and I love him but damn he makes such a mess. I

Pigfarmer - Ah, a song about dam breaks! As someone who works in this exact field (flood forecasting and advisories), I find this fascinating and have to vote for it. Plus it’s a good song, and one of a series of recent PFJR songs that I’ve found myself enjoying quite a bit. This and your livefight entry are probably my 2 favorite songs. I don’t really have much to critique about this. Very strong.

Possum Sauce - I feel like I should know who’s behind this cause your voice sounds really familiar but I could be wrong. Everything about this arrangement is great, and there are a zillion great touches here. The “copyright” bit had me giggling both times I listened to it. Strong melody. Stong performance. Good, good, good! One of the best of the fight.

R. Mosquito - And then of course Reve comes in and DECIDES TO GO WITH ONE OF MY PERSONAL FAVORITE GENRES. This is what I wanted the Onslaught song to be. Synth work reminds me pretty heavily of “Pulse” era Front 242 but this is riding that darkwave/EBM vibe perfectly and when the track falls apart into the glitchy “void” synth at the end it’s great. Dangit I’m gonna play that again. Fine, this is my favorite.

Seemanski - Okay, I have to admit I’m running on fumes review-wise. The”oooo” bit seems a bit uncertain as to what it wants to be from a pitch standpoint a couple times and probably goes on way too long cause imo it’s not really the strongest part of the song and I keep on wanting it to move onto a different point of the song which is a problem from an enjoyability standpoint for me cause it’s kind of the chorus. But I like the verses? The lyrics are neat! And faint guitar arp would be nice to hear a bit more of.

Stacking Theory - I can actually place this voice, hey there Gizo! This is Gizo + Toshiro, right? A well executed bit of sedate music. I’m not sure how much I really like the white noise washes but I do really like the horns. Guitar tone kind of gives me Johnny Greenwood vibes which is a good thing. I’d probably have used a slightly less “present” drumsound cause that open hat is a bit “bam” for the track imo but all in all I enjoyed this. Wish it was longer and developed a bit more though.

Test Data - Okay fine I’ll admit this awful mess is me. The concept is “computer is broken and I can’t turn it off”. To whoever said it sounded like a bunch of human drum tracks sped up and smushed together, that’s sort of right only it’s procedurally generated MIDI events being run through a virtual MIDI port on the fly, fed into FL studio, and causing two different instances of “FPC” drum pad plugin to go completely bonkers, as well as one instance of I think 3xOsc. Only submitted cause it fit the title lol. I’m entirely aware this is unlistenable dogshit.

Third Cat - Oh boy, your productions are always such a nice treat for the year. That really quick interval delay effect with the high pass you’ve got on your voice...and actually keep modifying sounds good and then you’ve got that intensely flanged or phased thing going on and it’s like a massage for my sleep deprived brain. I think I’ve said this before but do you ever listen to Daniel Avery or Kelly Lee Owens? They’re way more club oriented and techno-ey than your work but you hit pretty similar vibes with your production tricks sometimes and you’d probably dig them.

Za - I prefer Qi when I’m letter dumping in Scrabble, but Za is extremely useful for that purpose. I’d have maybe used a “string” type synth that was a little bit less trebly. I find it amusing that you name drop “5 magic card packs” in this cause I’ve been tabulating the value of all of my cards from 20 years ago recently in hopes to sell them and actually buy a proper electric guitar. This is funky. I’d suggest a stronger percussion track? The groove is too sedate for the phunk you’re reaching for. I mean it’s there but it’s like anemic funk cause it doesn’t groove hard enough.

Anyway, favorites are Reve and Possum with Brown and Future high up there too.

[WreckdoMelle]

Brown Word and the Big Whine - . . . Now, what is this song about? Other than getting SUPER PUMPED I couldn’t tell you but it gets me stoked and I love it.

Thanks for the review! I wrote the lyrics on my birthday so it’s about being born. I figured that had to be the most physically exhilarating event in my life and it still kicking along.

[mholland]

Night Sky—I would completely accept this as a popular song from the early 20th century, if I didn’t know better. It’s far from my favorite genre, but that’s ’cause of me, not ’cause of you. Performances and production are excellent.

Haha, thanks! Sounding authentically 1930s/1940s was exactly what I was going for, and it has gone over better than I expected here given how far it is out of the usual Song Fight realm.

Night Sky - I’d go look at the Night Sky but it’s really cold and I don’t want to go outside. I guess I could. But I don’t want to. Production is nice, maybe a little on the quiet side. Either just turn things up a hair or throw just a dash of compression on the master bus and it’d probably work better. This has a nice bop to it. I’m trying to figure out if there’s a song that I’ve heard this chord progression in. And weirdly one of the only ones that comes to mind is “Rubber Ducky” which isn’t condescending at all cause it’s a bop. This is very enjoyable! Keep on bringing the jazz!

Thanks for the review! I don't know for sure whether Rubber Ducky uses the same changes, but I wouldn't be surprised. I used a variation on rhythm changes (I Got Rhythm, Straighten Up and Fly Right, and a huge number of other popular and jazz tunes). Lots of I-vi-ii-V's and variations thereof. It's supposed to be great fun to solo over if you're any good, but for me it's murder.

[sleepysilverdoor]

Ha, I had a few other tunes that came into my head from a completely different era of my life that it bore a strong resemblance to earlier this morning -- back in the mid 00s I used to go swing dancing with my ex girlfriend all the time and stuff like your track was in heavy rotation (when they weren't in that bombastic big band style).

I'm a huge fan of older jazz styles (not that my entries would ever hint at that) especially when it's smaller ensembles. That said I'm more of a hard bop guy than a swing guy but I'll always get my toe tapping to some lindy hop sounding material

[Lunkhead]

The Gross Tones tie with Possum Sauce!

[gizo]

Stacking Theory - I can actually place this voice, hey there Gizo! This is Gizo + Toshiro, right? A well executed bit of sedate music. I’m not sure how much I really like the white noise washes but I do really like the horns. Guitar tone kind of gives me Johnny Greenwood vibes which is a good thing. I’d probably have used a slightly less “present” drumsound cause that open hat is a bit “bam” for the track imo but all in all I enjoyed this. Wish it was longer and developed a bit more though.

Yep - it's my voice for sure. There's no Toshiro in this though (we work together as 'rackwagon').

I just got a bit sick of using gizo for my music, so I've opted for Stacking Theory. Who knows if it will hold.

Thanks for the feedbacks - from you and everyone - and I would agree, this was underdeveloped.

[gizo]

Oh and woo-hoo for the Gross Tones and Saucy Possums!!

[Pigfarmer Jr]

Congratz to the both of yas.

[Sober]

Gross Tones - You’ve returned! Stick around and hang out with us, don’t be a stranger!

Nah fuck these guys. They've never contributed a thing to the community - they just cropdust us their mediocre whiteguycore bullshit and push their facebook followers to spam votes. These guys are missing the point of songfight entirely.

[Michael]

Nice fight! Congrats all. And thanks for the detailed reviews. (Yeah, agreed, there was some sloppy timing on my song - it was a bit of a rush job. And apologies for any Billy Joel PTSD.) Sorry, didn't find time to do reviews myself.

Possum Sauce - I feel like I should know who’s behind this cause your voice sounds really familiar but I could be wrong.

Possibly? I don't manage to songfight often, but I'm a regular at FAWM, so we might know each other there.

Are you a friend of Merle, perchance?

I'd like to think so. I don't know who Merle is, but I'd like to think so.

You fake a good small child – or do you keep one in a cupboard under the stairs?

Poor economics. Easier to borrow one off the street when the need arises - saves on upkeep.

[owl]

Possum Sauce!!! I didn’t realize till this post that I knew you from FAWM already! I thought you sounded familiar Congrats!

[crumpart]

Are you a friend of Merle, perchance?

I'd like to think so. I don't know who Merle is, but I'd like to think so.

I think Merle (of the Magnetic Letters) is in WA somewhere; you have a similar sense of humour if judging from lyrics is a good indicator. Your song made me laugh out loud and I loved it.

From stalking your bandcamp for a minute it looks like you’re from Melbourne. Hooray! All the best songfighters are from Melbourne...

[sleepysilverdoor]

Gross Tones - You’ve returned! Stick around and hang out with us, don’t be a stranger!

Nah fuck these guys. They've never contributed a thing to the community - they just cropdust us their mediocre whiteguycore bullshit and push their facebook followers to spam votes. These guys are missing the point of songfight entirely.

That's why l said "don't be a stranger" . It's annoying but maybe if they stuck around they might quit missing the point.

[sleepysilverdoor]

And I think Merle is from Perth, but I may be wrong.

[Smalltown Mike]

Nah fuck these guys. They've never contributed a thing to the community - they just cropdust us their mediocre whiteguycore bullshit and push their facebook followers to spam votes. These guys are missing the point of songfight entirely.

Fantastic — well put.

[thirdcatmusic]

Congrats to Possum Sauce, cool song.