Try and at least give us (Three Quarters reviews)

Discuss upcoming, current, and previous song fights.
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Duncan
Somebody Get Me A Doctor
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Re: Try and at least give us (Three Quarters reviews)

Post by Duncan »

Reviews
Great fight -- I’ve enjoyed the casual listening so far. I WOULD LOVE TO READ REVIEWS FROM THOSE WHO NEVER REVIEW! Even if they are scathing or incomplete or only focus on one aspect. No pressure though. You could start by writing 3-word reviews.

The Sewer People: Covid tune. Nice beat. I really like the quiver and control in your voice as you deliver the story. The range you sing in almost has a similarity to Eminem in Lose Yourself, but without the "Eminem baggage". It sort of conveys this sense of desperation for what’s missing. The samples are great -- very classic jukebox tunes. And an impressive solo to round it off.

Robyn Mackenzie: Great take on ¾. Do you listen to the Jayhawks at all? Your delivery and the way you build your harmonies remind me of Karen Grotberg and Gary Louris sometimes (the song El Dorado, and some of the fuzzier tunes off their most recent album). Incidentally, that band’s makeup is ¾ dudes and 1/4 Karen. All your lyrics and rhymes fit really well into the rhythm, nothing sounds awkward or forced. I like how “It’s a sha-a-a-a-me” immediately picks up from the verse without--literally-- skipping a beat. The mixing and texture and instrumentation is well done.

WreckedoM: So this is a mashup of junior highschool finances and maybe video games? I have strong memories of hustling for vending machine quarters after missing the schoolbus home and having to wait for a ride later on. It’s a delight. I can’t wait to put this on in the car when I have control of the stereo.

Brown Word and the Big Whine: This is like a companion to Townes VZ’s “Mr Mud and Mr. Gold.” I love a gambling narrative. I love the comic speaking interludes -- very drunk logic. I think the melody could use some more variation, but probably not a whole lot more, since it’s a loud song -- sounds like it was written to be yelled.

Heine: You are really good at bringing in so many catchy hooks to your songs. It’s a feast. I agree with all the lyrics, but I don’t know that they really caught me this time around. But they are a great vehicle for everything you’re doing musically -- great chord changes, arpeggios, and that grand harmonized coda. I picture you working in your music making space, chuckling to yourself a lot.

Governing Dynamics: Those 2 guitars play well between the L and R ears. The “don’t tell me about time that I’m wasting” and everything after it seems the most developed melodic part of the song. I think it also benefits from having the story out of the way, so your lyrics can be more reflective.

Amby Moho: Great little soundscape -- It has a real Beatles-y feel to it. Some kind of innocent foray into a psychedelic meadow with a benevolent land-squid.

Pigfarmer Jr.: This sounds like something Q would say in TNG, but not really mean it. Those drum fills sound really good in the headphones.

Library Dogs: Great guitar lead-in, and mandolin solo. The chorus is so rich. I think this song has everything it needs but I would take out the spoken part. It seemed to be too didactic, despite ¾ or more of the song sitting right in the pocket of earnest and sincere and indirect and cool.

Moody Vermin: You capture that feeling of being consumed by something you can’t win, whether it's an arcade game, a slot machine, or trying to mix a track. You mixed this one well. It’s very full, and your vocal harmonies are lush. Cool tune

Somewhere off the Left Coast: This one grew on me. I like the sparseness in this song, and also dig the way you use ¾ (the ending joke, obviously, but also the feeling of always having your shit together 75%). That’s a familiar feeling. I’ll echo the other review that complained a bit about the vocal style but then doesn’t want to sound like an old man. I suppose I am a “geriatric millennial”. My beef with that modern indie singing style is that it hides the singer’s voice (a really good voice!) and makes it sound so similar to so much radio stuff out there. That’s hypocritical though, because I’ll contort my voice too, and I like all kinds of music where people bend their voices. I don’t know why this style grates on me -- same thing happened when all the pop-punkers around 2000 were faking british accents. Might just be my problem, if anyone’s still reading.

Yaks: You guys always make me start bopping my head around. That synth is a treat. The delay on those right-ear guitar strums, the spoken bits. I really love this. Killer chorus sonically and lyrically.

Night Sky: Night Sky gets JB’s coveted “I look forward to hearing you on Prairie Home Companion” award this time around. This song calls for whistling and you deliver. I’m a big fan of happy tunes about depressing subjects.

Duncan Martin: If you ever find yourself in New England in September, the best fair in the land is the Tunbridge World’s Fair in eastern VT. It has all the trappings of a good solid fall fair -- no artifice. Nestled down in a little river valley. Dedicated old-time reenactors, a guy with a functioning shoelace-weaving machine, all the classic rides, impressive vegetable and baking competitions, killer arts and crafts, with discerning judges, Bernie is there most years, just wandering around with his buddy. Mad Dog Vachon has since passed, but his brother Paul “The Butcher” Vachon still sells therapeutic magnets last I checked. Merle Fyshwick, I think the first time I heard Bill Callahan, I kind of realized it was possible to sing the way you talk, with maybe a bit of rise-and-fall layered on. It was a real epiphany -- I wasn’t going for a BC sound but now that you mention it I can hear it a lot.

Phlebia ft. Sweeney Toad: I really love the part where you order an Uber and then “scratch that”. This song is full of really great lyrics and Sweeney, this song sounds a lot more varied than your others -- maybe its the collaboration -- seems like you incorporate more of your range and different vocal rhythms. Phlebia, great platform for Sweeney. I wasn’t expecting to like this as much as I did. I think it would sound cool to have some of that chorus sound right at the start, as a bit of a preview -- even if just an instrumental.

Cookie Blue: Great song -I like the focus in your lyrics -- you bring it back your message of being alright despite a long struggle. There’s a real theatrical feel to this, like a character development song in a musical. That descending melody conveys the slightly melancholy-but-resilient tone of the song, since it always resolves itself.

Sly Eli: It’s a really good song with way too many pipes piling up on the warehouse floor. Choose like 3 pipe drops and scrap the rest. I’m voting for it anyway because that chorus (and song in general) is so good. I don’t fully get the full meaning, but that leaves it open to the imagination on later listens.

The Magnetic Letters: Graham Parsons called and wishes his songs were this funny. Brilliant country song. “That's three out of four, c'mon now why you look mad?
'Cause if that ain't good it's one twelfth better than not bad” I love that line -- absurdly complex quantitizations of not-badness. Steve Goodman, Graham, John Harford, Townes, and John Prine would be glad to know the flame burns bright.

A flaim: I like the message in the song. It’s pretty easy to dissociate our self-image vs. our actions, and then come up with excuses.

RedBicycleCar: It was hard to make out the lyrics. Cool vocal effect. I kept expecting this to open up into a third gear before ending.

Paco Del Stinko: Early early “the Who” sound here. A real tale of how limitation brings its own rewards. And then a kicker at the end that capitalism always wants more, even if you prove yourself worthy.
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sleepysilverdoor
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Re: Try and at least give us (Three Quarters reviews)

Post by sleepysilverdoor »

Duncan wrote:
Sat May 22, 2021 11:44 am
Phlebia, great platform for Sweeney. I wasn’t expecting to like this as much as I did.
Maybe I wear my influences on my sleeve, maybe not: but the chorus was basically my take on late 90s radio rock like "My Own Worst Enemy" and "Steal My Sunshine", while the verses were pretty heavily influenced by the more hip-hop inflected Korn tunes. While pretty polarizing, I'm infatuated with that over the top cranked snare tone that used to be popular in those days (to the point where I once made a breakcore EP entirely focused around over the top pingy snare drums and a have a sample library on my computer of them). Like that "pow" and then it just lingers, man, dang 'ol pop pop pop and the compressor like dadgum.

Compositionally I just started with the drum track, sent it to Sweeney after a brief discussion of what the song should be about, and just matched what he sent me lyrically once he sent it all over.

Plus I really really like Taco Bell. I don't know why they teased me by only reintroducing the Quesalupa for a few months and then taking it away, it was so good.
"There's a lot to be said about a full-on frontal assault on the ear drums" - Pigfarmer Jr.
mo
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Re: Try and at least give us (Three Quarters reviews)

Post by mo »

a.flaim:

Probably everyone else has mentioned how relentlessly out of tune the vocals are in the verse (mostly flat). They are in the chorus too, but less egregiously so. My impression is that the worst offenders are mostly transitional notes inside a phrase. The melody line as conceived is fine though, so you maybe want to just spend more time with vocals and getting them nailed. I'm sort of partial to this kind of, I don't know, Sunny Day Real Estate-y kind of song. The thrust of the lyrics is fairly simple and I don't mind that, but I do think there needed to be a bridge or some other development to allow the narrator to reflect on why they are the way they are. I mean, yes, I get it, the narrator has principles they aren't upholding, now the hard part is trying to answer why, or to throw the dilemma of it into sharper relief. Without that, I think the song is conceptually incomplete.


Amby Moho:

Sounds great, lots of cool little riffs and ideas floating around; I hope you get around to finishing it.

Brown Word and the Big Whine:

The idea is not bad at all. For me the initial problem is in the mix, which is really congested in the instrumentation, which I would guess is a lack of sculpting the EQs such that the instruments aren't fighting each other for the low mids, especially the keyboards vs the fuzzed out guitar. The times I've really liked your vocals have been when you have had sort of more precise phrasing, and there's a bunch of moments here that are a little too loose for my taste. I think the drums are also way too low in the mix early on, which kind of saps the energy. Later on they suddenly get much more present. I think the story is not bad, capturing a moment. A suggestion though, I wanted to have more insight into the narrator's dilemma. It might add a lot to know why this person is so desperate to play in this card game, something that would really increase the stakes, all puns always intended.

Cookie Blue:

With or withouuuuuuttt youuuuuuuuuuuu..... the verse is not bad, the chorus doesn't quite click together. A little sloppy in the chord transitions in the instrumental part, and then coming back to the verse needed something to smooth the transition as well. The topic is a good choice and there's a nice emotional journey, but I would say go back and work on the chorus to make it hit hard and be memorable, because as it is, it's functional enough but doesn't really feel to me like it's very impactful.

Duncan Martin:

Your vocals to me generally sound better when you're not doubling, so good on you for that here. Something about the groove isn't sitting quite right between the vocal delivery and the drums (also too low) and guitars. It's almost like something's dragging and so it lacks precision. I am also not sold on the lyrics of the song, which seems to be more of still life, which is fine but then I'd want a chorus or something that would illuminate something else about the scene, draw my attention to a different observation or provoke an emotion. I think this is a little two-dimensional in the writing.

Governing Dynamics:

Well the drums are loud, but the rest of the mix is a bit discombobulated. The vocals are also noticeably out when they are following the riff. When the song to the chorus it doesn't quite increase the energy to wear it needs to be, IMO. Some of that is density of the arrangement or lack thereof. Some is the drum part, which doesn't live up to the rest of the chorus. Often the drums sound like they are in a different song, and the guitars too, rather than interlocking and weaving together. I don't know if that's just an illusion from the hard panning, but definitely something to look at. Unsurprisingly, the vocal intonation gets worse the more you push the envelope of your range, I've definitely had that problem too. It's pretty not good, but something that if you want to take the time to train up on it, you should be able to actually hit those notes I think. There's some good ideas in here, but needs a bit more craft.

heine:

Oh the vocal intonation is just gonna be like that this fight, huh. The groove in the first part is again a little not together in the same pocket. The guitar being a little out of tune in the second section is a bit of a problem too, although it grooves a lot better. This song sounds, probably intentionally, like a bunch of different songs slammed together. It doesn't work for me, but you do you. The one thing I find myself really noticing is that the vocal phrasing is a little too bland for me.

The Library Dogs:

This sounds pretty good. Everything is nicely in the pocket. I would've made the main vocal with a touch more of moistness in the verb. I like the movement through the lyrics, this hopeless plodding forward of a journey that you don't even know if it'll be worth it. The harmonies are quite decent, and the chorus is hummably memorable. The first prebent note of the guitar solo is a little out, which I wouldn't even mention except it's the entry phrase into the solo, and thus it's a little problematic to have that moment with an out of tune note. Opening lines and opening phrases of solos really matter.

The Magnetic Letters:

Nice mixing and groove. Might be the fact that I'm listening to these during a workday, but the dirty jokes of it don't work for me. Well no, it's really because these jokes are just sort of there and haven't been strongly set up with an expectation, so for me there's no chuckle factor.

Moody Vermin:

So this is what happens when you listen to Starless and Bible Black back to back with the Dune soundtrack by Toto. Luckily Evermind was around to lend some gravitas to this. There's a bunch of polymeters going on and possibly some polyrhythms as well, but mostly it all happens because I can't count. The guitar solo backing section is the Coltrane Giant Steps concept mixed with changes I stole from All By Myself.

Night Sky:

The prosody doesn't always flow well. I am also not enamored of the jingle jangle, it all sounds awkward and forced to me. This little ditty might benefit from being a little faster and maybe some sound design, just noises to punctuate the end of lines.

Paco del Stinko:

The triplet figure at the end of the verse lines isn't quite together in V1, noticeably so. The drums are a bit sloppy in other places as well. It's a very pleasant song otherwise. The story is nicely nostalgic I suppose.

Phlebia feat. Sweeney Toad:

Love the groove and the ringy snare sound in this context. This is the best Phlebey Toad song so far, just on the basis of the groove.

Pigfarmer Jr:

I basically don't like the phrasing that ends each verse line, sounds awkward to me and throws me out of the rest of the song.

Red Bicycle Car:

I dig this basically up until the male vocal comes in, which sounds like it's not of the same sonic space and throws me. It needs EQ too, it's too fat. I also don't know what this song is about, except that it's asking a question. But I have no context to evaluate the question, so I don't really know what to make of the lyrics. It sounds cool though and I like the filtering effects on the female vocals.

Robyn Mackenzie:

This mix could use a bit more glue, as well as a bit more dynamic changes to really punch up the chorus and bring it back down for the verses. As it is, the song kind of stays at the same energy level all the time. The guitar solo, I would've done it again in tune, you can kind of get away with losing the tuning a little later on, but again, entry phrases matter. And I've been restraining myself from saying this on like most of the other songs bc I know it's a Songfight thing to do, but the vocals are mixed a little hot. I think you'll find more power and effectiveness if you can make the vocal a little more skinny EQ-wise, so that it cuts without quite so much level, the harmony vox will blend in a bit better as well, and you'll have plenty of room to play with to be able to mess with the mix to punch up choruses and such.

The Sewer People:

I don't really know what to say about this song. I just don't think the hooks are strong outside of the line "Three quarters in my pocket
and I’m looking for that jukebox", which is a great hook. I was mildly curious once all the samples come in to see how you'd mimic the whole sort of club experience you're singing about. But I don't really think it coheres well. Some fun pentatonic riffing in the solo.

Sly Eli:

It's all competent enough, I just don't think the verse and chorus mesh together well, feels quite forced really, especially the first time. It's something about the two grooves and they need a bit more transition of some kind.

Somewhere Off the Left Coast:

Starts with a decent pop idea, and the chorus is hooky. I feel like this song is kind of just unfinished, like it really wants to take off but then we never get there.

WreckdoM:

I don't hate it. Specifically I like the "get me to the next" and "get me past the wall" bits, those have some nice grooving to them.

Yaks of the Industry:

I'm just really here to say, who loves them some Casio toms? *pointing* Those guys do! The Rhodes sounds so comforting. JB has the ability to sing anything and make it sound meaningful and deep somehow. I still don't know what a Harvey Wallbanger actually is.
Evermind
Somebody Get Me A Doctor
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Re: Try and at least give us (Three Quarters reviews)

Post by Evermind »

Hey folks, been a while since I did reviews. I try to be as frank about my reviews as possible and recommend ways to improve if there's something I think the song did poorly. If something comes across as mean, please know that I'm not trying to hurt anyone's feelings or win Pitchfork snark points.

a.flaim:
Welcome to Song Fight! (or at least the song fight boards)

I like the arpeg intro, and the guitar tone you've got is nice. Your vocals are a bit off-tune, you might consider using a tuning utility to adjust them, or at least to see what notes you're hitting in relation to what notes you wanted to hit. Off-tune vocals can work for this sort of style, though, but you have to do other things to support the vocals, and these sound pretty unprocessed, and with no backup vocals they're pretty exposed and every note missed counts more when that's the case. The energy you put into the vocals is great.

In the second verse the words fit oddly into the rhythm. For example, in the word "money" the first syllable is stressed, but you stress the second syllable and it sounds odd. Same with "walking" in the next line. Unless it's an intentional choice to do otherwise, try to match the stressed syllables in your words with on-beats, or with the rhythm of the song to make it sound more natural.

I like the topic you've chosen for the song, which *I think* is the tension between wanting to help others conflicting with social norms when one encounters a homeless person asking for money. It's thought provoking, which I think lyrics should generally be.

Amby Moho:
Nice bass intro. I like the chaotic feel of this. There's a joke that one wrong note is a mistake, and the same wrong note repeated is jazz. There's a lot of that "jazz" in this song and it's done well. I'm wondering if this is some experiment in a realm of music theory that's unfamiliar to me (admittedly that's a lot of it), because it seems pretty oddly consistent in how it sounds off but somehow still works.

This song is pretty daring. It seems like a ton of choices were made to get the listener to be uncomfortable. The lyrics don't rhyme, the cadence of the lyrics is strange, there's an odd number of lines at the end, 7th intervals, heavily driven everything, lots of weird panning, very short song, sudden ending.

I like what you've done here.

Brown Word and the Big Whine:
I like the song, but the mixing could use some work. The rhythm guitar seems kinda boxy like it's been over-EQ'd. The toms seem really quiet, as does the kick.

"It's a German deck!" Love it.

The song ends kind of suddenly and could use a stronger ending.

Cookie Blue:
The first 3/4ths time song I've heard yet this fight!

Nice vocal harmonies. The lead vocals seem a little bit flat in places, but not so much as to be too off-putting. The verses get a little repetitious with all the instruments and vocals doing the same thing over and over with no changes from one verse to the next, especially with the arpeggio guitar playing the same three notes that isn't pushed to the back of the mix. Pretty much everything is playing every quarter note too, so the lack of variety starts to get old by the end of the song. The solo is a little sloppy.

I like the theme of coming to terms with one's idea of oneself in spite of a lack of acceptance from others.

Duncan Martin:
Another 3/4ths time song, yessssss

The rhythm guitar and vocals sound a little like they're coming through a tube. Might be how they were recorded, or might be overzealous EQ, or some effect applied too heavily. I'm not sure which. The guitar and vocals are pretty loud in the mix compared to everything else, the drums seem barely there. Since the guitar and vocals are both panned left and are louder than everything else, the mix seems pretty unbalanced off to the left.

The drums are pretty repetitive and sound pretty artificial, which may be why they were pushed so far back. If you don't have a realistic sounding drum machine you like, I can recommend MT Power Drum Kit and Hydrogen drum machine (using the downloadable JazzFunkKit through Drumkits > Online import). Both are free and sound natural and nice.

The topic of the lyrics is cool, and while there's good imagery throughout, if I were to describe each of the verses with one sentence, each description would be "you're at a county fair". It's possible that there's some progression to the story or theme that I've missed, but it seems like there's no new information being conveyed from each section of the song to the next other than more imagery. It would be cool if there were some story about an event that happened; for instance, if you were telling a story about how an entire shelf of bottles of home-made wine shattered all at once at the county fair, and each verse describes another event in a chain of events that culminated in that disaster. Or something.

I do like the number of little things that come in and out of the song, like the panflute you bring in for the "Ecuadorian panflute" line. Some of them seem a little off-time, though, and makes things sound a little chaotic.

Governing Dynamics:
Nice sounding drums. Maybe a little loud on the snare.

Nice Area 51 reference, I sunk a lot of quarters in that game. It's strange how much my original lyrics resemble yours, Area 51 reference and all.

I really like the bridge, but it's a little rough. The "no room in this world" line seems off-time the first time around. The line "all of youth's relics we're forever forsaking" is kind of awkwardly phrased, like "down the stairs he did fall". In this situation, you might have been better off not trying to fit a rhyme in. When two lines don't rhyme, your brain starts anticipating how the next line will rhyme, creating a need to move forward, which would push your song forward into the outro.

heine:
The kick has a REAAALLY big push to it. Not sure if it's just too loud or if it's asymmetrical but boy that kick is moving some air. The drums and the guitar seem out of sync, which is too bad because the galloping rhythm is nice. And speaking of which, the galloping rhythm is three eighth notes followed by an eighth rest, so in any measure you've played three quarters of the eighth notes. Nice.

The hand claps and heys section is great. Nice vocal harmony in the ending.

I find it hard to get into the lyrics of the song, I'm not much for the "why can't we all get along" theme since there's lots of immediately available answers to that question, but insofar as targeting hippie rock, it's well within that style.

The Library Dogs:
Great guitar riffs. Great vocal performances. I'm also fond of how the last lines of stanzas such as "The End" and "Moments" are short and don't rhyme with the previous three lines, breaking expectations and creating anticipation as the next section begins. Unfortunately, for all the wonderful word smithing you've done, it seems like the entirety of the idea of the song has already been presented by a minute or two into the song.

Vocal harmonies remind me of some Beatles song I can't put my finger on. Very pleasant.

As the electric guitar comes in for a solo after the acoustic, it sounds like it was cut off at the start. Sounds like it teleported into the song in the middle of a note and it's a little jarring.

The spoken word part toward the end comes off as really corny.

The song sounds really great short of little tidbits here and there, but seems not to have much to say (or seems to be too subtle about what it's saying for me to understand).

The Magnetic Letters:
Woo hoo! More 3/4!

Nice little country tune, silly lyrics. Very short, but well executed.

Moody Vermin:
This is Mo and I! Mo put together the guitars, came up with the structure and progression of the song, mixed, and mastered. I contributed synth bass and pads, string arrangement, lyrics, and vocals. It's about being in a video arcade and trying to stretch three quarters as far as it will go, but it's also in a vague sense about being in some kind of relationship with a person who is playing games with you that are designed so you always lose. I'm incredibly happy with how it came out.

Night Sky:
The whistling seems a little off tune when it first comes in. Singing seems a touch off and wavers in one or two places. It may be that with more breath support, you could more consistently hit the notes and not waver. This is something I have trouble with, in case this sounds like it's coming from atop a high horse. :)

I like the oompah vibe you have going on and the hand claps sound great. Some odd phrasing of words like how "outside" has the second syllable stressed in "lookin in from the outside" and the second repeat of "jingle jangle".

I like how consistently different your songs tend to be from the rest of the crowd, I know when I listen to a Night Sky tune it's not going to be yet another pop-rock song, I'm going to get something interesting. Little things aside, I really liked this song.

Paco del Stinko:
This suffers from the same "down the stairs he did fall" lyrics issue that other songs in this fight did, in certain lines like "The second coin I was forced to use". I get a vague impression from some of the things in the song like "I gave it all my bestest chance" that this MIGHT be an intentional choice to make the protagonist sound more like a little kid? If so, it might be worth dropping more clues.

Everything sounds pretty good, though, nice mix. I like the vocal performance. Lots of awesome energy in there.

Phlebia feat. Sweeney Toad:
I'm gonna stand with you on the ringy snare hill here Phleb, it sounds great in this song.

I like the fuzzy sounding bass, but there's a buzziness to it that gets in the way, especially on the "third eye" line.

Some really super rad lines in this too, my favorite being right at the end:

I took a scoop of the fractal soup
Cause it sounded like purple sunbathed in tape loops
You feel like Cinnabon

This is what I wish rap-rock/rap-metal had been like in the 00's. Can y'all collaborate again? :)

Pigfarmer Jr:
I like your guitar tone. Cymbals and hi hat seem really quiet. Vocals seem a bit too loud. I like the mono verse vocals that go stereo for the chorus, adds nice emphasis. Could use some more low end to make me mosh harder.

Pretty simple tune overall, but it works well! Not sure what the lyrics are about, but this strikes me as Ramones esque where you really don't need to think too much about the lyrics, you just need to bop around the crowd harder.

Red Bicycle Car:
I don't know what a "bussing" is, so I'm afraid I am unprepared to tell you if there is such a thing as a partial bussing. I Google searched it, I still don't understand.

The song is very "blocky", by which I mean that you have looped elements that start and stop suddenly, and never change throughout the song, as if you have loops you're treating as legos you're building your song with. In certain contexts this works, like if you're trying to make your song sound robotic, or if you're going for an early techno feel a la Kraftwerk. There's also one loop that stays with the song from basically the beginning to end, meaning that your song cycles through the same few chords in a row for a little shy of two minutes.

There's not really enough unique parts or sections to this song to gain or keep my interest.

Robyn Mackenzie:
Having the bass guitar booming in my right ear and not my left is uncomfortable. Beyond there just being a lot of sonic energy in low frequencies, there's a historical reason that low end goes in the middle of the stereo field, which is that loud low sounds on one channel and not the other would cause stereo record player needles to jump to one side and make brand new vinyl records skip. After a few records that skipped, mixing engineers started putting all the bass in mono. After decades of that, people got used to it and now it's just odd and distracting for the bass not to be centered, but I don't think that was your intention with this song.

Great chorus, makes me instantly want to sing along, and your vocals are really well done.

Guitar solo is a little sloppy and the guitar seems out of tune, but I like the solo otherwise.


The Sewer People:
Really slick vocal performance. Sounded like a Beastie Boys sample in there? And a Police sample. And some more. The samples get a bit old. I think I get what you're going for here, which is echoes of the songs the protagonist used to listen to and enjoy in clubs, but after one or two samples the novelty is lost on me and I want to move on.


Sly Eli:
Sounds very, very reminiscent of Pink Floyd's "Welcome to the Machine". Good use of lyrical structure to move from one section to another.

The stark contrast between the bleak, Dark Side of the Moon-esque verses with sparse synth rhythm and single voice, and happy chorus with falsetto and harmony reminiscent of Under The Influence of Giants' "I Love You" is giving me whiplash. It doesn't really work for me, it feels like there are two different songs you're mashing up and the lyrics seem consistently on the bleak side, which creates this weird fission that feels unexplained and unjustified to me.

I like both sections, but I think the song would work better as a whole if you'd found some way to marry the two parts a bit better, or stuck with the great ideas you had in the verse or the chorus and dove deeper into one of them. The way the chorus flows into the verse is a little bit better than the other way around.

Performance wise, everything is very clean, the vocals sound great, the synths are nicely done, I particularly like the way the acoustic guitar is mixed in, the strumming sounds very percussive and creates a rhythm that helps carry the verse along.

Somewhere Off the Left Coast:
Washed in reverb, minimalist. The line "will not be found" has its reverb tail cut off both times, kinda sounds like you did one good take and copy/pasted it?

It may just be that I don't have the lyrics available to me, but I can't make out what the song is meant to say. I'm not really getting anything from it.

WreckdoM:
What movie / show is this sample from? Sounds wild.

Love the wah wah guitar. The performance is kinda loosey goosey in places, but hey, it's a song about shaking your booty for quarters. It's way better done than one can expect from it. Makes me wanna shake my booty. For quarters.

Yaks of the Industry:
Tasty synths right out of the gate. Satisfying sounding kick. Airy vocals and vocoding.

"Money might be a foolish lover / But if I can’t have one I’ll take the other" is a definite "tattoo line". I like the skit at the end.
I am definitely too square for how experimental this is, but I can imagine that if I was in the right state of mind, the section starting at 2:20 might transport me to another dimension - jeffhenderson
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Duncan
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Re: Try and at least give us (Three Quarters reviews)

Post by Duncan »

Evermind wrote:
Mon May 24, 2021 6:53 pm
Duncan Martin:
Another 3/4ths time song, yessssss

The rhythm guitar and vocals sound a little like they're coming through a tube. Might be how they were recorded, or might be overzealous EQ, or some effect applied too heavily. I'm not sure which. The guitar and vocals are pretty loud in the mix compared to everything else, the drums seem barely there. Since the guitar and vocals are both panned left and are louder than everything else, the mix seems pretty unbalanced off to the left.

The drums are pretty repetitive and sound pretty artificial, which may be why they were pushed so far back. If you don't have a realistic sounding drum machine you like, I can recommend MT Power Drum Kit and Hydrogen drum machine (using the downloadable JazzFunkKit through Drumkits > Online import). Both are free and sound natural and nice.

The topic of the lyrics is cool, and while there's good imagery throughout, if I were to describe each of the verses with one sentence, each description would be "you're at a county fair". It's possible that there's some progression to the story or theme that I've missed, but it seems like there's no new information being conveyed from each section of the song to the next other than more imagery. It would be cool if there were some story about an event that happened; for instance, if you were telling a story about how an entire shelf of bottles of home-made wine shattered all at once at the county fair, and each verse describes another event in a chain of events that culminated in that disaster. Or something.

I do like the number of little things that come in and out of the song, like the panflute you bring in for the "Ecuadorian panflute" line. Some of them seem a little off-time, though, and makes things sound a little chaotic.
Thanks for the reviews -- mo for yours as well. You got my number with the drums. It's index fingers on an old casio. Tunnel effect is probably a mix of bad equipment and novice engineering. Although for Full Moon I got back to my shed where there are real drums. As for the lyrics -- I see what you mean. The idea was that nothing ever changes there except for a bovine moratorium in the riparian zone, and the end of the demolition derby (that was due to insurance costs). Mo's description of a still life is pretty accurate, but maybe the central point of "this thing that's stuck in time" should be better emphasized with a hook of some sort.
I'll check out that MT Power Drum Kit. I have Linux on this thing so i always dread trying to get any plugins to work. It eats up a day.
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sleepysilverdoor
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Re: Try and at least give us (Three Quarters reviews)

Post by sleepysilverdoor »

Evermind wrote:
Mon May 24, 2021 6:53 pm

This is what I wish rap-rock/rap-metal had been like in the 00's. Can y'all collaborate again? :)
It may be a bit until there's another one for SongFight, but we are doing a track for a different competition in a little under 3 weeks so the Phlebey Toad is continuing.
"There's a lot to be said about a full-on frontal assault on the ear drums" - Pigfarmer Jr.
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Heine
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Re: Try and at least give us (Three Quarters reviews)

Post by Heine »

mo wrote:
Mon May 24, 2021 4:37 pm
heine:
Oh the vocal intonation is just gonna be like that this fight, huh. The groove in the first part is again a little not together in the same pocket. The guitar being a little out of tune in the second section is a bit of a problem too, although it grooves a lot better. This song sounds, probably intentionally, like a bunch of different songs slammed together. It doesn't work for me, but you do you. The one thing I find myself really noticing is that the vocal phrasing is a little too bland for me.
I always wanted to be a rock singer, I even tried to imitate some soul singer stuff, but it didn't work. I got this rather boring voice which is okay for singing recipes, time tables, ASMR and maybe love songs. But that doesn't bother me that much anymore. I put my focus on strong melodies and on always trying something new I never did in a Songfight before.
Evermind wrote:
Mon May 24, 2021 6:53 pm

heine:
The kick has a REAAALLY big push to it. Not sure if it's just too loud or if it's asymmetrical but boy that kick is moving some air. The drums and the guitar seem out of sync, which is too bad because the galloping rhythm is nice. And speaking of which, the galloping rhythm is three eighth notes followed by an eighth rest, so in any measure you've played three quarters of the eighth notes. Nice.
Thank you! I really try hard to get better and more precise. But my problem is that I got so used to my sloppyness that it takes me quite long to figure out whether it's out of sync or not. (My oldest son hears that immediately. I don't. Shame on me.)
www.heine-musik.de - Stark autark! - Keller Kollektiv - Vince Link - "Paragon of Teutonic Gloominess" - Elaine DiMasi
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robynmackenzie
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Re: Try and at least give us (Three Quarters reviews)

Post by robynmackenzie »

I had a whole page of reviews ready to go, then it made me log back in and they were GONE. Grr. This was a super strong fight, and I really enjoyed listening. Top three were Yaks of the Industry, Library Dogs, and Phlebia feat. Sweeney Toad.
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Re: Try and at least give us (Three Quarters reviews)

Post by Pigfarmer Jr »

That was happening to me last year and I think Fluffy fixed it. I got into the habit of copying the whole thing so I could paste them in if it happened again. Also, going straight to the boards instead of through the front page link helped... I think. It's been a while and I've slept since then.
Evil Grin bandcamp - Evil Grin spotify
T.C. Elliott bandcamp - T.C. Elliott spotify

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mholland
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Re: Try and at least give us (Three Quarters reviews)

Post by mholland »

What the hell, here are some late reviews. Great fight, with a higher than usual video game song quotient.

a.flaim: Great instrumental performances, arrangement and mix. Vocal delivery is great, and you've heard enough about the intonation. Really like the bridge to nowhere/outro.

Amby Moho: Lots of cool sounds and contrasting feels. I like the light vocals. Would have finished my review, but

Brown Word and the Big Whine: Maybe the mix is a bit muddy, but I'm a sucker for your big guitars and your lyrics, as always.

Cookie Blue: Good strong intro and vocal performance. Great lyrics and nice take on the prompt. The instrumental provides some nice contrast to the always descending verse and chorus.

Duncan Martin: I always enjoy your lyrics and generally chill, gentle approach. I also hear the "coming through a tube" effect on the vocals and guitar. I could be wrong, but it sounds to me like maybe too much reverb, either on those parts specifically, or on the whole mix. Or maybe you're getting too much room sound in a small, boxy room.

Governing Dynamics: Very evocative lyrics for the (nominally) angsty pre-teen subject matter. Really liked "awash in the neon and jackpot bells, arrested by sound," and the overall arc of the story really works. Definitely the most emotionally stirring of the three arcade-based songs in this fight. Vocals a little pitchy and strained in places, but delivery is great.

heine: Really catchy! I like the contrasts among the sections. Even with the contrasting feels, I get a sense of unity that I think is provided by the lead guitar, which is present, but subtle throughout.

The Library Dogs: This is a definite highlight of the fight. The acoustic guitar rhythm figure is great, and I really enjoy how the bass intertwines. Nice gentle vocals, and the chorus harmonies are great. Great performances all around. Not crazy about the spoken part, and the sudden ending, but everything else is great.

The Magnetic Letters: Very well done, simple country tune. Performances are great. Clever lyrics.

Moody Vermin: I like the repeating atonal motif (at least it sounds atonal to me), it creates a lot of tension. Nice build in the chorus, quality performances around. "Cathode ray playground" is a great turn of phrase to refer to an arcade.

Night Sky: This song arose from noodling on the ukulele I recently finished building. It just sort of wanted to play vaguely old-timey things, so I went with it. Ended up adding my Morphine-inspired lap steel bass. Steve recorded acoustic drums for this one, and we even considered going with brushes on a pizza box instead of the snare, but we couldn't get it to sound good. Lyrics came a little late in the game, and I didn't really do them justice.

Paco del Stinko: A little looser than your typical entry, but I like the overall sound. As usual, your arrangement is great. Vocal melody and timing feel a little awkward to me in places. Second most emotionally stirring video game song in the fight.

Phlebia feat. Sweeney Toad: This is a cool collaboration. I'm not usually that into Sweeney Toad, but Phlebia's canvas is great for Sweeney's rap. I say this a lot about Phlebia's stuff, but it's far enough out of my wheelhouse that I have a hard time calling out specific likes/dislikes. In any case, this one creates a really interesting atmosphere, and the interplay between the rap and sung vocals is cool.

Pigfarmer Jr: Cool story, well delivered. I don't have much more to say, but I dug it.

Red Bicycle Car: Cool ambient feel with some nice sounds. The melodica or whatever it was (inspiration for the latest challenge?) was a nice touch. I couldn't really track the lyrics, though, and I kind of wanted it to lift off into something soaring for a bit, but I guess it's not my song, so not my call.

Robyn Mackenzie: Always happy to hear one of your songs! Really solid, as usual. I'd have preferred a single rather than doubled lead vocal in the verse, because your voice can definitely pull it off. That said, you harmonize with yourself so well in the choruses that there's enough variety in the vocals.

The Sewer People: Nice reggae groove, relaxed vocal feel works well. I'm not crazy about the sampled (or covered?) content from other songs at the end, and it all starts feeling a little incongruous when the distorted, flanged guitar comes in.

Sly Eli: This is really nice. I like the contemplative mood of the verse and the liftoff into the chorus. Lots of nice little touches, e.g., the occasional glockenspiel (or similar) hit.

Somewhere Off the Left Coast: I like the atmosphere of this, and the vocal performance is great. The bridge kind of faked me out, because it felt like it wanted to build and it really didn't. The added parts in the final chorus were a nice touch. Ending a little abrupt.

WreckdoM: I like the instrumental parts, particularly the funky guitar, theremin (or theremin-ish sound), and bass. Lyrics and vocals are on that special WreckdoM wavelength that I don't really get.

Yaks of the Industry: Another highlight of the fight. This is a style that I have almost no affinity for, but it's well enough done that I can tell it's good.
Night Sky is Sally on lyrics, Steve on drums, and Matt on the other stuff
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amby_moho
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Re: Try and at least give us (Three Quarters reviews)

Post by amby_moho »

Some late era reviews b4 the new fight begins :lol:
i'm doing these reviews stream of consciousness as i listen
tried to be a little more judicious and constructive with these reviews, as I've found that to be really helpful for me in the past when submitting tracks to Songfight!

WreckdoM
Sample to begin. I immediately like the beat. Ahhhh these vocals! Offputting. The whole thing is so skronky haha. I honestly love this vibe, especially once the chorus (?) hits. This is like...B52s meets...outsider art. The verse vocals are not my fav, but the overall vibe of this song really makes up for it in my opinion. Hahahahaha this song is cracking me tf up. I am a vote for this one simply for vibe an execution of odd ideas alone. Only sticking point is the talk-y verse vocals could be more....Malkmus and less. Bloodhound Gang?

Yaks of the Industry
So far in the intro, I love this guitar & the drum machine. Ooh yeah these vocals. I really like all the elements of this song. The synth melody is slightly too consonant for my liking, but it's nice especially with the arpeggios. Chorus is saccharine, in again a bit too much for me type of way but I like it overall. I personally think the synth sections would be improved if they had some more chordal movement happening. I am being nitpicky! This is a cool track and I love the production choices. Everything sounds really great, honestly. Really well recorded. I am trying to give constructive feedback in these reviews instead of just saying "I love that" ha. This bridge is a tonal shift in a way that I feel helps balance out the sugary choruses of yore. The thing that bugs me in the chorus is the dominant chord that hits for instance at 3:15. I really like the major 6th vibe you have in the first part of the chorus, but the dominant 7th there hits me buttery in a way I'm not fond of, if that makes sense. This song is getting a vote from me.

Heine
Something in the mix is distracting me. I feel like the kick drum (which also feels behind the beat?) is almost sucking the air out of the room, like it's sidechained or something? That issue is distracting me from the content of the rest of the song. These are MIDI drums yeah? Not inherently a bad thing, but maybe they could use some mixing elements. I find that if I take artificial drummies & dirty them up by running them into a tape machine or re-amping them, it can help give them a slightly more organic feel. At any rate, this song is nice. As it goes along, the aforementioned mix issues are bothering me less. I think my favorite part is when it's just acoustic guitar and singing honestly. It's nice. I like those harmonies coming in around 2:35. Wow what a nice outtro. Considering the scope of the whole song, this one is a vote

Red Bicycle Car
Cool vibe. I like that the vocals have the same effect as...whatever is hard panned? Is it also just heavily filtered vocals? The panning element is really nice to listen to. It almost sounds like you used 1 vocal track but doubled...tripled? and then added different effects to the different channels. I like the talking part that comes in. The other vocals were a surprise, but I don't love them as much as the initial shock of the crazy effected vocals. One thing I will say, is that it feels like a lot of these elements were copied & repeated through, and imho they could use a little more variation to not make the repeated elements (drums, etc.) feel so "same-y." The song ends right on time. If anything, I would say lose the masc. sounding vocals that come in, OR maybe put some effect on them as well? the dryness of those vox I found a little distracting, personally. As with the rest of the songs I've heard so far today, I've found a lot to love. So it's a vote !

Nightsky
It's a dope riff. I think the vocals could use a little dirt in the mixing. The vibe of this song rules. Haha it's making me feel jolly. Got a kinda "turkey in the straw" type vibe. I think the vocals could be redone with a slightly stronger take, but I really love how lackadaisical this track feels. It feels really loose & jolly. A refreshing changeup. Whistling! It's short! It's a vote

Brown Word & the Big Whine
Not in love with the guitar tone. Chunky metal zone vibes. Vocals are maybe pitched up (?) which is cool. The pentatonic solo when the verse returns is a little guitar center for me. I like the synth lines. Wish they were a little more audible. I feel like this mix is "cloudy." In a way that feels unintentional. I like the talking part, hahaha especially the 5 aces in the deck. 2s are wild where I come from too, or at least where my family comes from (Budapest.) vote

Paco del Stinko
Yes. Immediately yes. This is awesome. I love every element, especially how raggedy it feels. Have you heard Palberta? This song is awesome. My favorite so far today. There is an inherent naturalness to this song that is hard to put your finger on. Including the change where you hit the minor chord circa 0:55, and the fact that you hang on that tonic chord for a little while right before the change. The songwriting rips. It's just all so natural! Thank you for this weird weird wonderful little ditty, Paco del Stinko. I love it. Oh MAN, the 1:55 change. Legit inspiring. I love that the new part with the bassline comes in...really not expected. Then the held chords, return to the original part. Classic!!!! The outro rules too. 10/10 vote

Duncan Martin
Ah, a sad one. The drums sound...mixed so low that they have no impact. I really like the vocals. They are nice. I like the minor 4 around 1:00. Works. This is like, a demo that shows promise. Did I mention, I like the lyrics too. David Berman influence? The MIDI drums get a lil jank around 1:59. Also, the electric guitar parts that are strung along throughout don't feel particularly effective to me. I do like the overall effort here, and I think it's a solid seed for a strong song eventually. vote

Cookie Blue
Whoa. I like the guitar tone. OOH the vox are sick. Damn, this song rules. I like that the drums change when the chords change, but I think that section could use some examining. The rhythm changes could be done better, I think, just because that driving 8th note vibe feels missing in those moments. Another element that retains that driving sensation could help? But honestly, this song is beautiful. I like that it's in 3, or 6 I guess if you count it that way. It feels urgent. It feels like...you are about to get on a train or something. But the train hasn't quite left yet. Ah maybe the train is leaving at this RHCP style bridge circa 2:08. I like the guitar riffs. There is good shit here. Ooh, that final chord before the return was unexpected. I like it. If you can't tell, I like when my expectations are defied. Anywaysss yeah this song is awesome and I would like to hear more from this songwriter! I like the ending too. vote

Pigfarmer Jr.
Not my fav guitar tone. I like the doubled vocals. I don't feel totally captivated, but I get the aim this song is going for. I think the doubled vocals and the drum fills on "we're gonna die" work particularly well, as do the ramped up drums immediately after. Ooh! And I like that that was the end of the song. We died, I guess! vote

Sly Eli
I like the synth noise. I like the acoustic guitar. I like the vibe. I like the synth swells. It's great that there is no snare yet. Just a kick. Oh! The whole song is here. Wow what the heck. I did NOT expect this chorus. Is this a chorus? The whole vibe is totally different now. I love the way you say "her" on "he doesn't care for her." Haha this song is weird. I like the verse 2 synth that comes in. Doom-y. I guess I would say that the chorus feels very...jubilant, which is a nice contrast to the gloominess of the verse, but it kinda made my hair stand on end. What do I mean by that exactly? It's not that I *don't* like the changes, it just feels SO different that it's almost like a different song or something. Like I could see this song function really well without ever hitting that other vibe. I think also the bounciness of the bass, plus the 2 & 4 jangly guitars makes it almost feel like...a campfire song? A ska song? I think the vocals are really well executed, the melodies and structure are good, but I think it's the arrangement of the instruments in the chorus that could be a little stronger possibly. That ska vibe is just so bouncy and it distracts a little. Overall, very cool song. vote

The Library Dogs
The guitar & voice sound nicely recorded. I also like that you are using the "Three Quarters" title to inform the lyrical progression. The chord progression of the verse isn't my favorite. I like this chorus! Quite nice, with the harmonies too. I like the chord movement. The ukulele solo? or classical guitar sounding solo is okay. The verse...again, it's not *bad* it's just kinda bland. The chorus coming back is a welcome change. I like it a lot better. Protracted solo time is a bit overindulgent. I really like "this moment will lead to the next moment which leads to the end." That's great. And I have to come back to the fact that I love the chord movement of the chorus. It's inspired. I like that the end comes abruptly. vote

The Sewer People
Nice fill to start. Not my fav guitar tone. Ah, the verse– the spoken vocals and upbeat guitars are okay. I like the guitar tone better in the verse than the intro. The drums sound oddly good. Are they real? They sound excellent honestly. I think the bassline and bass mixing could be improved. I like the filtered guitar that comes in at 1:59, and the weird vocals. Haha whoa....wait. Did you just melodyne Sting? The solos at the end are "rippin" vote

a.flaim
Ooh. Kinda like a Weezer or Elvis Costello vibe. The vocals are off for me tho. They are really high fidelity, dry, and in the first verse a lil flat or something. Second verse too, and the yelling part could be yelled with more chutzpa. Overall song shows promise, but I think the choices made are not my fav. I like the chord it ends on! The fade is a little abrupt and feels weird tho. vote

Somewhere Off the Left Coast
I like the riff. Oh the vox are loud! Too present for me. But they sound nice. Kinda Broken Social Scene, Devandra vibe? I like the guitar figure in the back. I wish the mix was like 25% more guitar, 10% less vocals. The chorus chord changes when they come in the second time...it's a little "Coldplay" for me. But overall I like the wistfulness. I think the chorus is nice it's just really "anthemic," which compared to the spareness of the verses is a little anachronistic for my taste. I see the promise here, and I think with some more work this one could be a single vote

Governing Dynamics
Yes. Immediate yes. I like the dissonant guitar stabs, that then resolve. I like the tones. The bass is a lil muddy but i like it. The drums are also a little wobbly once the change comes in around 0:40, but I think it works. This song has vibes. Ah, the "one quarter" reference as someone else did. I like it. I think the drums are a lil janky in the chorus at 1:27 too. It feels a bit uncoordinated from the rest of the elements. I love the guitar panned left, but the guitar panned right's tone is a little muddier than I'd like. I like the part that comes back after the chorus. One thing I think this song could really use is some change in dynamics. It would be great if when the chorus ended it felt a lot quieter before the vocals returned, or something. Overall I really like the conceit of this track, and I am happy to listen. Maybe some Pavement influence here overall? Last thing I will say is it feels a little long for my taste. vote

Moody Vermin
Ohhhh yeah. Here we goooo. Time for me to put the cursor back at the beginning and start counting :)
I count it as two bars of 5, a bar of 6, a bar of 5. repeat. sick. I love that kinda stuff. What a rad intro. Once the "verse" drops it's in 6 solidly, of which I approve. The effected vocals are cool, but the mix of those vox is a lil trebly for my taste. This almost sounds like 2003 era Incubus or something. Ah man, the rest of this song is cool but that intro was so unlike anything I've heard today, or on Songfight for the fights I've participated in. AH! It returns. I love the return. It's like some fucked up Primus shit. I wish the whole song was just this honestly haha. Anyway I like the whole thing and I approve of the choices. Food for thought, I'd love to hear some real scrungy shite that stays in the prog zone the whole time ;) oh PS it's toooo long vote

Robyn Mackenzie
Good chord progression. Ooh I love the vocals. This guitar tone is the "crunchy" tone that everyone else was trying to get, but theirs sounded like boss metal zone & yours sounds dope. This song slaps. Chorus vocals are awesome. This shit is catchy!!! Great harmonies. Ooh, I like the chord change on "dollar." The bass like comes up while the chord goes up with it. I approve. Also the drums sound great in this song. Nice guitar solo. I approve. My only criticism so far, and this is a personal taste thing, but this song is l-ooong. If I were producer, I'd say nix verse 3, and maybe have 1 more chorus after the guitar solo, or maybe end it early. All the elements of this track work really well with one another, and it's nice to hear everything again. Just a thought. The instrumental section after the vocals stop is fine, and the abrupt ending is cool, but I think you could do it better! vote

The Magnetic Letters
Ooh yes. The pedal steel. The drums are mixed like 5 db too hot for me. Ooh I like the harmonies that start happening. "Partial eclipse of the heart." Nice. Then the minor 4 real quick haha. HAHAHAHA what the heck nice innuendo you slipped in there huh. WOW and it ends early. See, the song is only 1:30. I am such a huge fan of that. What a great great song. Thank you vote

Phlebia ft. Sweeney Toad
Yep. I'm with you 100%. The tonal snare. WOW. That thing really pings, huh. Bold choice. That's some nu-metal shit right there. Nobdoy respects that shit enough anymore, and I don't get it because when it's done well (as it is here) it really rips. I love this track. The mixing choices are great, and the vocals are cool and work. It's some straight nu-metal shit. I love it. The synth line in verse 2 is dope too. Damn this song is sick hahah. I like the lyrics too. The rapping is great. And the underlying track is like...Korn would be proud. I remember talking to some newer bands that I dig like Guerilla Toss about Korn. Korn is actually fucking amazing. Something easy to forget as I feel like much of the tastemaking music world wrote off nu-metal, but I tell ya the critical re-evaluation of that period is coming, or maybe it already got here in like 2019. There will be a 3rd wave nu-metal revival and hopefully it will sound as good as this track haha. If I had a criticism, it's that the vocals could come up a tad in the choruses because it's hard for me to pick out the words. That would be IF I had a criticism. I just straight up love this track. vote


As you can see, I ended up giving everyone a vote this time (sorry! useless!)
I found something to like in every song, but I tried to cut a lil deeper with my reviews. Like I said in the preamble of my post, some of the constructive criticism I have received on here has been really helpful honestly. I took some of the advice when fully fleshing out the songs and it was honestly useful for me to get a take on people's thoughts of my ideas in a virtual petri dish type setting. So I hope to do the same in return :)

Favs are Paco del Stinko, Cookie Blue, Robyn Mackenzie, The Magnetic Letters, Phlebia ft. Sweeney Toad.

I said this in the pre-fight, but I won't be submitting for a while as I try to finish the record I am working on. My "unfinished" track was actually written and recorded in a weed delerium in like 3 hours while I was "supposed" to be working on another track. This is my first time recording an album entirely by myself, and I find it very difficult to stay on task lol. I started to realize that my favorite part of the process of making music is the initial creation of songs, and actually finishing them, especially when you don't set aside a few weeks of paid recording time where "the fire is lit under your arse" or whatever, it gets a little harder to stick the landing.

Thanks again for having me be part of your community :)
See you soon I hope
<3
- Andy
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Lunkhead
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Re: Try and at least give us (Three Quarters reviews)

Post by Lunkhead »

The Yaks win!
mo
Mean Street
Posts: 514
Joined: Fri Oct 08, 2004 9:46 pm
Instruments: guitar, bass, synth
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Submitting as: duboce triangle, ellipsis, agony sauce, moody vermin, spite, yaks
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Re: Try and at least give us (Three Quarters reviews)

Post by mo »

Do they though? Maybe actually we all lose
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