The Doomsday clock says we're (One Minute Closer reviews)

Discuss upcoming, current, and previous song fights.
mo
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by mo »

One Minute Closer reviews

In order to make myself actually finish reviews, I’ve decided to compress my thoughts to one thing I like about each song and one thing for suggested improvement. Let’s see how this goes.


Brown Word and the Big Whine:

Like: you’re going for a weird, dark vibe here, and I love that about this song. The riff is nicely E Phrygian, which always sounds kind of evil, good choice fitting this lyric to that.

Improve: The main thing here is that the mix balance is off, which you’ve probably guessed, but I would say it’s mostly because the drums are way out of balance with everything else. Partially it’s the genre, but also because so much of a groove’s energy comes from the drums, that having them so far back in the mix drains the song of power. I think you have to have a great snare sound and a powerful but not overwhelming kick at least, and it would make a huge difference.

Berkeley Social Scene:
Like: All the layers and the arrangement are beautiful, but especially those guitar tones are luscious, especially the arpeggios in the chorus

Improve: for my taste, the lyric is a little “just there”, not the vocal performance, which is fine, but the lyric kind of lacks energy. Like it’s not even that I don’t believe you, it’s that I think it should be more incisive and cutting, like I think this lyric is pulling its punches. I think some of that is from the choice to go with “we” and with the way that every couplet is kind of going for a different type of imagery.

Lichen Throat:
Like: I like a lot of the little riffs, the main riff and the one that ends each cycle and signals a new one coming in particular are great ideas.

Improve: A lot of the first half of lines are starting on the beat, but then as soon as you take a breath, the vocal performance goes off the beat and then you don’t catch up. Watch the specific timing on your breathing so that you can perform your vocals in the grid consistently. Or just do what all kinds of people have done, and punch in each line individually (you would be surprised how often this is done on pro recordings).

Night Sky:
Like: the verse melody is nicely catchy; I can still hum it even though I’m writing this a few minutes after listening. For some reason, it reminds me of that “we’re sensitive hair metal guys” song from Skid Row, I don’t remember the name of it—which is neither here nor there as comment on the song. Just, strong sense of melody.

Improve: My main thing here is the guitar playing. It’s a pretty simple, chord part, but when you’re doing that sort of thing, and it’s the main propulsion to the song, you need to be tight to the rhythm all the way through. This particular performance is quite loose, and especially in key moments and section transitions, the imprecision of the pocket makes the overall effect of the song less powerful. This is true with both strum pattern and the single note lines.

Rone:
Like: This entry, I do not deign to call it a song, is just forcing us have to listen to you jerk off in this mumbling, atonal, miserably grooveless, mechanically repetitive monument to how much you like to waste our time.

Other than that, not bad.

Prill Phuner:
Like: The opening groove is cool, the little hiccup at 3& in the beat is cool. I kind of like that drum machine sound and the synth tones, while a little boring, work too.

Improve: Vocals. First, gotta practice so you can get a little more power/energy in the vocal, which also will help with the intonation issues that are omnipresent. Second, don’t bury your voice in that much reverb, it also kills all the power and force of the vocal. Like, I used to do that too because I hate the sound of my voice, but it actually just makes everything into a smeary mess rather than actually helping. My solution was to get other people to sing, YMMV.

Gil Sans:
Like: Great vibe and energy, indie rock for days. That chorus is pretty cool too, I especially like the “waiting” bits that go, what is it, E to C#? Really nice.

Improve: No notes. I mean, sure, intonation, the guitar tone is a little harsh, but I mean, this song just oozes cool, wouldn’t change a thing.

WreckdoM:
Like: I love the moody vibe, all the sounds are cool.

Improve: ok I gotta break my rule to note the two things. First, the mix is out of whack to me; that bass synth is just so loud it really breaks my involvement in the song. I like the sound and I like what it’s doing though. Second, again, your singing voice needs exercising; you’re losing intonation, and way earlier than you should. If you worked on that a little bit (and it happens faster than you think, if you keep it up) I believe you’d really kill with this song.

The Mellfire Trifecta:
Like: I especially liked the bridge “fall out, then crawl back”, that line is fire and really nicely changes pace. Unfortunately for me the song material describes me as one of the people in a relationship that is torture for the third housemate, so on behalf of myself and all the other people who are bad at relationships, I apologize.

Improve: Prosody. Too many lines fall out of the metrical scheme and it’s really distracting. Some of that can be fixed by working with the performance to find a more “in the pocket” way of phrasing/delivering the lines, but some lines you’ll probably find just would be better rewritten. Secondly, this arrangement is a little staid, it probably needs to start out less full and build in instrumentation.


Moody Vermin:
Like: Evermind

Improve: mo

Paco del Stinko:
Like: I love this, would totally fit into the Repo Man soundtrack. Very complete statement in under 1 minute.

Improve: No notes, again, sets out to do something, nails it.

Duck + Cover:
Like: Jeff Fal

Improve: mo

gizo + adadadadadadadadadad:
Like: Great feel, love the rise on “up”, the vocal performance all around rocks, one of the better actual deliveries and usages of the title in this fight.

Improve: I mean, no notes really. I could probably compare notes with you on the compression you used, but really, I’m not complaining about it. I’m not super into the line “keeps me in place”, that line feels like it could be punched up somehow with imagery that’s a bit more stimulating, but that’s about it.

Phlub:
Like: You’ve gotten really good at using these tunings and finding compelling sounds with them, It’s a very cool atmosphere with cool harmonic ear candy. I especially like the breakdown section from like :51 to 1:40 or so

Improve: write some lyrics or put a melody line on it, finish it as a song. It doesn’t feel complete as an instrumental to me.

Sumner Sloane:
Like: I think the overall song is a nice little ditty; I assume it’s dirty, but hey, that’s just the way my mind works. Pretty standard song structure, but it all works.

Improve: Ok dude you’ve done enough Songfights that I think you can invest in some gear, better software, whatever it takes to up that production game. There is so much free/cheap stuff out there that you can definitely up your game. And fix that fucking tambo, it drove me batty like listening to people clap on 1 and 3.

Gray:
Like: I like that this is a genre I haven’t heard on Songfight recently. I like the concept of the outro (although that note on “runnin’” is very ouch).

Improve: As a song, I think this is more like a draft or an early demo. The melody is a little bit too straight standard for me, mixed with the standard chord progression, not particularly captivating. And I like quite a lot of genre music, but in this case, I would say push it to find tweaks to make that melody a little more unique. And I can’t resist noting that you’ll want to look into the mixing, almost every layer in this sounds to me like it exists in a different space, not like it’s an actual performance happening in the same room—a lot of that can be created through the use of compressor busses and reverb busses, worth looking into.

Pigfarmer Jr.:

Like: Nice song that grooves in the pocket, good build to the chorus and the IV to iv move. You’ve improved the phrasing of your vocals too, don’t think I don’t notice, much more in the grid.

Improve: I think the last couple choruses need to be a bit bigger. I would do it with backing vocals and maybe strings or some other kind of pad maybe, lots of options for you to choose from really. I’m personally not that into songs that are kind of blaming someone else for something that don’t examine the other side, but YMMV, it’s certainly not against the genre conventions.

Sly Eli ft Amanda:
Like: The song is a cool idea musically, especially the call and response chorus, which has a nice build to it.

Improve: the mix is a bit unbalanced, but mostly what I notice is that I don’t really feel anything about the song—like I have feelings about cute little kids and whatnot, but I have no idea what the song is about or what’s going on really, so it feels unfinished to me. I think it could be awesome to hear a fully developed version of this.

Thanks everyone for your songs and your reviews!
Last edited by mo on Mon Mar 14, 2022 7:22 pm, edited 1 time in total.
mo
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by mo »

quick liner notes

Moody Vermin: The main inspiration points for this song were Pigs on the Wing Pt 1, the short acoustic song that intros the Pink Floyd album Animals, as well as Concrete Blonde's Joey and obviously Boston. The guitars are a regular acoustic on one side and a Nashville-tuned acoustic on the other side for a sort of faux stereo 12 string effect. I think I overdid the compression a little bit, but whatever. Evermind, Vom, and Owl really nicely sell the vocals with all the regret you can fit into one chorus.

Duck+Cover: I was listening to too much Iron Maiden and this is what came out as a result: just sort of inspired by, but without any galloping in the bassline. Jeff Fal put his unique wail on there and we're off to the races. I really liked the dbx compressor here on the kick and the snare, I had been A/Bing it with a bunch of other compressors and you can really hear why it's so well-reputed, adds so much defined body. It 100% did not work for the guitars and synths though hahaha. I did consider taking Fal out of that 3rd verse and have it be guitar solo instead but I mean, who wants to hear another fucking guitar solo really, when you can hear Jeff Fal.
mo
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by mo »

apropos of nothing though, I just noticed under to my name on the right hand side of these forum posts, it notes my classification as "Push Comes to Shove", so I just wanted to note that that solo is extremely badass and includes one of the most painful stretches I've ever had to play
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by Lunkhead »

This BSS song is the recording debut of my new ES-335, which I used to record all the lead parts! (Recorded direct through my Way Huge Saucy Box into my Vox MV50 Rock mini head.)
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by gizo »

Lunkhead wrote:
Mon Mar 14, 2022 9:39 pm
This BSS song is the recording debut of my new ES-335, which I used to record all the lead parts! (Recorded direct through my Way Huge Saucy Box into my Vox MV50 Rock mini head.)
This is the challenge of new instruments! I debuted my Hofner bass for those fuzzy bass chords.
.sig
mo
Push Comes to Shove
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by mo »

That 335 sounds really good—I knew it was a 335 but I didn’t realize it was yours—I thought it was glennny’s hahaha
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by sleepysilverdoor »

Prill Phuner again has my favorite lyrics of the fight.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by vowlvom »

I'm gearing up to enter / write reviews again one of these days, but for now I'll just say that the Gil Sans song was great! More of that sort of thing, please.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by lichenthroat »

Berkeley Social Scene—This sounds like a song a local band would play (and this would be their best song). Very in-the-groove rock. No one could ever hate this, and everyone would like it, at least a little. I like the understated vocal, and then the soaring solo. Oozing with competence. I like it.

Brown Word and the Big Whine—I think you might want a few bars of that low guitar before the vocal comes in. I like the vocal performance, and it could be higher up in the mix without hurting anything. I like the Oppenheimer quote as inspiration for the lyrics. To me, the song feels like it would benefit from a faster section somewhere in there. I like the warbly guitar at the very end.

Duck+Cover—This is among my favorite Ozzy songs. In that context, I’d like the vocal performance to be more unrestrained. Everything else is spot-on. There’s a nice balance between the verse and chorus. That “midnight” part is cool. If I had long hair, I’d be banging my head.

Gil Sans—I’m a sucker for this sort of thing, so I liked this a lot. Just the right balance of retro rock-n’-roll and dissonance. Back in the day, I would have been putting this on mixtapes for people.

Gizo et al.—This vocal is perfect for the song: slow and gentle, yet nearly bursting with energy. I kind of wanted an outburst at some point, but I still liked the song without it.

Gray—This sounds very familiar, as if it ought to be an old standard that I haven’t heard in years. The abrupt break suggests that this is what you had in mind, but I’m not quite familiar enough with the source genre to know exactly what you’re referencing. The horns punctuate the song well. I think you did everything well, but I’m still a little confused.

Lichen Throat (me)—My singing seems more offkey than usual. I liked this when I recorded it, then I hated it, then I kind of liked it again. I think I got at least a little hint of the sense of uncertainty that I was trying to convey in the vocal tone. @Lunkhead: Thanks for that comment about the drums; I had no idea that a human drummer wouldn’t do this. I have a terrible ear for deconstructing drum patterns, so my drum programming is basically an experiment every time.

The Mellfire Trifecta—Your vocal really makes the song; once you started singing, I got a completely different (and more well-realized) sense of the song that I had in the intro. Some good—and funny—lines in the lyrics. I like the transition to the bridge. I usually don’t like this kind of rhythm (in ¾, if I’m hearing it right), but I do like it here. It’s nice when a song makes me like something I think I don’t like. Good job.

Moody Vermin—I want the vocal to sound somehow bigger. I like the composition of both the vocal and guitar. I want this to be longer, too. This sounds like the single from your MTV Unplugged session, which we would have heard nonstop on the radio for a month and a half. (I like this, which I’m not sure the preceding comments make clear.)

Night Sky—I like the fullness of your vocal. The quiet, though fully present, percussion is a nice accompaniment. Nice guitar playing, too. This is among my favorites of yours. Very enjoyable.

Paco del Stinko—Very threatening. This should have been exactly 60 seconds long. This wasn’t all that enjoyable to listen to, but I admire your full commitment to concept. It works as a piece of conceptual art.

Phlub—I don’t know what you’re doing here, but it actually sounds pretty good. You have a rare talent for making things sound good that seem like they should just noise. I wish you’d had time to put a vocal on this; I think your voice would sound good on here. I’m glad this made it in the fight, anyway.

Pigfarmer Jr—When did you get so professional? The mix sounds good, as has been usual lately. This is one of your better compositions, too; I particularly like the vocal melody in the chorus. I want this to come on the radio at sunset on a long day on the road.

Prill Phuner—Some element of your vocal delivery sounds you’re joking around, and the effects make you sound super muddy. I think this would sound ace with a cleaner, more earnest-sounding vocal. There’s a good backbone to the song.

Rone Rivendale—After the drawn-out notes of the female vocal, I would like to have heard your voice going faster as a counterpoint. Sort of like the Sugarcubes—be the Einar Orn. That said, I think this may be my favorite of your recent songs.

Sly Eli feat. Amelia—I’m not sure whether I’m supposed to review this as an Amelia song or as a Sly Eli song. As an Amelia song, it’s obviously great. As a Sly Eli song, I think maybe you have the positions of the vocalists reversed; it seems like it might be more suited to having the male vocal as the main verse and the female vocal as a counterpoint in the chorus, with more instrumentation behind it. The lyrics are actually pretty good. I do like this overall, and I’m pretty sure I’m going to download it to the permanent collection.

Sumner Sloan—The vocal melody is great. The mix doesn’t sound quite right, but I’m not sure why not; it seems like it needs to be livelier somehow. Anyway, this is a good song, and it gets better the more closely I examine it.

WreckdoM—The synth bass sounds good. I like your vocal on this, too. It seems like it could use a guitar playing sustained, reverby notes. But I know my advice might be the best match for your chosen aesthetic.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by sleepysilverdoor »

That is the first time I have ever seen someone suggest "be the Einar Orn". All I have to reply to that is I'M HAPPY AS A CLAM, THE CLAM IN ME IS HAPPY, I AM SO HAPPY NOW! jesus shit motherfucker, coming for a party number, down low in the peanut butter.

In Cod We Trust has a special place in my heart as possibly the single most wtf album in my collection and I'm happy to see a reference to Einar lol.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by lichenthroat »

I'm happy to oblige.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by sleepysilverdoor »

[edit: oh shoot, the m3u is missing the late songs, I'll get those later]

Berkeley Social Scene - I hear this riff and intro and when it goes up that minor third my first instinct is to start singing the SongFight live theme song. Chorus is very mellow. The guitar solo is great, and I am pleased with its sonority. This does not make a huge impression on me, but it sounds good.

Brown Word - You hamming it up on your vocals in this one amuses me. The decrescendo could use a little work before “I am become death”. Those echoey vocal emphases are awesome. Clos-AH where you hit that last syllable super high is infectious, I wish you did that the whole song. This song needs to be about 20 bpm faster, it’s way too slow.

Duck + Cover - Opening is solid. Very solid. This has a very late 70s/early 80s hard rock vibe to it. These drums are obviously programmed but they’re grooving solidly well and that pleases me. The swirling synths are a little thin for my taste. The quiet/loud/quiet structure is one of my favorites so this is pretty nice. The chorus here is strong. I’d like to hear a little bit more range in the vocal melody…it follows the chord progression a little too closely for my liking.

Gil Sans - I’m feeling these harmonies and the melody you’ve got going on here. I feel like a little bit less empty space in the vocals would probably make this better, but it’s pretty good as it is. There’s a lo-fi aspect to the guitar that I find kind of charming. How was it recorded, small-ish amp in a room? Drumming is fantastic. I can never tell with drum plugins these days if they’re real or not but they sound super organic and I’m pleased.

Gizo - This is remarkably mellow and chill. Not exactly new territory for you but still very enjoyable. Gives me JAMC vibes. That repeated chorus hook is pretty nice. I hate not really having a whole lot to say about this one but I don’t really have a whole lot to say beyond “it’s good!” Or to do a Sober-esque review cop-out: “classic Gizo!”

Gray - Okay those gospel vocal harmonies get a million points from me. I am a very pleased listener. Lyrics are short and to the point. I wish this song was a little bit longer. When it ends, it’s just sort of…done. The horns are classic, even though maybe they’re a bit loud in the mix. And the choice of drum sound doesn’t quite sit right with me for some reason, but beyond that? Not much to object to at all! The “doot doot doot” was kind of funny.

Lichen Throat - You know I read that earlier review that pointed out that your drum parts half of the time don’t really sound like something that a normal drummer would play, and honestly the only real thing that sticks out with them is that there isn’t a steady pulse being held down on a cymbal or other drum or something. Of course now that I’m paying close attention to them, I’m going to try and do a song where I just hit the cymbal once per measure and mostly just play a simple kick/snare beat. “The magnitude of infinity used to make me sad” is a great line, and honestly the lyrics here are stellar.

Mellfire Trifecta - The chorus melody in this is great. One of the catchier choruses so far this fight. Maybe breaking out a bit now and again and going for some higher notes would add some much needed flair to the arrangement. That hi hat needs to go. I don’t know what it needs to be replaced with. Maybe a tambourine. Right now it’s way too incessant and metronom-ey and it detracts from the song. The…accordion(?) part was an inspired choice. Yeah, kill the hi hat.

Night Sky - Rhyming Alps with scalp was a kind of awkward but memorable rhyme, and I can’t decide if I like it or not. Sometimes I think you should hold out some of your syllables a little bit longer to improve your vocal melodies. I’ve noticed this a bit in past songs too…like you’ll end a line with “up!” but it would sound better if you said “upppp”. Another example is where you say “know…how the story would end”. I think it would sound better if you held out the “know” a little bit to “knowwwww how the story would end”. Another thing is maybe putting a little bit of compression or limiting on your vocals, or at least focusing on making them a little less peaky, like some words end up way louder than others. As for the arrangement and the actual song? Pretty decent. I’d turn up the drums slightly but I love drums. I’m not entirely sure what this is about. But Iodide and Cyanide sounds cool.

Paco del Stinko - OI UP THE PUNX. I unironically love this. I’ve listened through the fight maybe 5 or 6 times at this point and this one is a real standout. I don’t know if this is “classic Paco” cause you don’t usually sound like this.

Phlub (liner notes) - I’ve been playing a lot lately with a 22 note octave. You get a lot more intervals than usual that way, and so I decided to compose something for 2 prepared guitars that uses a false bridge to make the octave at the 11th fret, with the 2nd guitar part turned 1\22 (roughly a quarter tone) higher to achieve the full set of notes. So this is actually two different recordings that don’t overlap at all. My “Head First” entry was written similarly, but I actually finished it and it’s a lot catchier and less moody. Also it's in 33/8 because why not.

Prill Phuner - This song is silly, but in a way that makes me grin whenever I hear it. This is top notch silly songfight synthpop. Maybe the guitar tone is a bit thin. Maybe the ending could be better. But heck, this is a top contender if only because it’s so charming.

Rone Rivendale - Use the mixer! FL has way too many stock plugins that sound good for there to be a mix this dry. Why is the “oooo” clipped at the end. Some of these notes are just off from a harmonic standpoint. Add more lyrics.

Sly Eli ft Amelia - Bringing in small children into a song is always fun! I don’t know how old Amelia is but I hope she had a blast doing this. It’s funny, I actually have referred to my own kids as “loin fruit” for a very song time, entirely due to Caravan Ray doing a similar father/daughter duet under the name “caravan ray and his performing loin fruit”. As for the song? Synths are a little too buried in reverb compared to the bone dry synth drums. The “keyboard solo” near the end is…noodly at best. The chorus is strong? I want to like this a lot more than I do and it’s super charming but as an actual song it’s kind of weak. :/ Oh well, keep inviting Amelia on tracks. Linus hasn’t been interested in doing any entries for awhile. Hey Sam, can we have an “involve your kids” optional challenge?

Sumner Sloane - What is going on with the drums, did you stick a tape chorus and a high pass filter on them? The kick drum is extremely anemic. It’s not an unpleasant tune, but there is so little low end and the over abundance of chorus gives the impression of listening to a song by plugging a piezo speaker into a cheap cassette player. The song itself is okay, the melody is pretty good. Unfortunately it didn’t really make a big impression on me.

WreckdoM - At first I think I’m going to get a standard WreckdoM freaky grossout anthem. But then it stays subdued for most of the song. The synth voicings are brilliant. The line “the dawn that waits beyond is truly bitchin” elicits a smile every time. This song makes me wanna go jump a train. Maybe it’s a bit too stagnant, there isn’t much movement throughout the song though. Kind of makes me sleepy. But I’ll saw some z’s. That isn’t so bad.

Phlub’s picks:

PrillDuckPacoGilGrayGizo
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Paco Del Stinko
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by Paco Del Stinko »

Very quick comments. Hoping to present positive, but not ass-kissing remarks because hey, at least ya made something during these days of destruction. Yay we made stuff stuff! Doesn't mean you get a participation trophy, though. Uh...no.

Berkeley Social Scene - She's got the looks that chill! Chorus opens up and closes out very nicely, brighter, too. Leaves its 80's videos behind. Healthy contemporary lyrics, good.

Brown Word and the Big Whine
- Kinda gloomy, this doesn't quite do what it wants to do, I think. Lacking a bit of snap. Or, just needs to be taken even darker. The Sabbathy middle section works a lot better than the start, lacking a little focus. I like the neighborhood that this comes from.

Duck+Cover - Very radio ready start, Very tight all around, great motion. Could have borrowed a hint of classic metal voice to add some charge, but rock along nicely, esp. on the chorus, but voice sounds nice. Good fit for the old Heavy Metal soundtrack. Clean and nice sounding mix, groove that doesn't wear you out.

Gil Sans - Hooky and tasty in all corners, this stands way high in its untucked flannel and sneakers glory. There're too many influences to mention, but they all come out as its own thing. Makes me feel a certain age that I ain't no more. Bittersweet, and all that, genuine. Love this.

gizo and the ADADADADADADADADADAD - Cheez-it and Scary Train without the crumbs. Maybe a nice slice of home-made wheat bread. Or oat. In the ocean enjoying the gentle undulation. Brief, but long enough to get a bit away from the shore.

Gray - Son of Steve Durand. This could be in an animated special, the chancellor frog has his big number 2/3 of the way into the show. Pleasant and well done. Sounds very nice.

Lichen Throat - I dig the progressions, there's a lot of bitter-sweet in there, though feels thin at times, esp. the out from the bridge. The vocal hints at some good melody, but very unsteady. However, very much like the way you are producing your voice. Clearer, tighter, less bottom-endy. I think going in that direction should be your baseline.

The Mellfire Trifecta - Nice melody, the lead vocal is a great fit for this. Love the straight ahead and confident stride of this. Nice vocals all around, though a high backing voice might not have hurt, good accompaniment without over-doing it. There's a certain familiar vibe to this, more than it sounds like so-and-so, but still mm-mm-fresh!

Moody Vermin - Right to the point, intimate. A nice and warm vibe inhabits this, despite the hurt lyrics. The song has a good arrangement, length not a problem. Works on its own, an Elvis Costello and company type version would be fun!

Night Sky - The progression and melodies are all fine, comfortable and a nice stirring out of chorus feel. Arrangement is very good as well, but there's an alternating stiff and under-rehearsed feel. Tightened up and maybe a whittled off line or two would put make it move you more. Good tune, though.

Paco del Stinko - Drums first, so I had to approximate a minute, which was the idea. Uh, yeah, didn't make it.

Phlub - Been listening to a lot of Lichen Throat? HA! Crazy under water Nuptunia-scape art. This is a very good use of math as trip factor. I like going here, scared I might stay too long. The missing vocals might've been drawn out and just as wet. The end of the world must be watery.

Pigfarmer Jr - Well balanced and organic. Mature slow dance, all serious but not without love. Hurt 'n anger, uncertainty. Serious life stuff, that. Vocls supported very nicely here, they feel like they're leading, yet still part of the whole. Very effective.

Prill Phuner - Mouth Flaps On Fire. I very much dig the layering and arrangement, nice hooky mood. The full voice could be thinned a bit without losing its bigness. Loses its way a bit as it goes, the early vibe is good fun. Hooky in your head melodies don't overstay their welcome.

Rone Rivendale
- I like the loop. Once. If it had gone right into some kind of machine gun rap for a verse, then maybe even returning for another pass, would have been real fun. A little bit of a crazy bunny staring at a wall in there though.

Sly Eli feat Amelia - The grandfather clock at the bottom of the stairs wants to come up, figures out he can't, so does a dance and sings upstairs. Warm and catchy (that sounds potentially horrible!) and family free form fun. Cute voice, nice voice.

Sumner Sloane - Hey! Dick Ring-shield wants his song back! Very radio catchy fun, bit muddy, but has a good air to it. Snappier and more rocking drums would be even more fun. I like this much and would like hear its bigness bigified. Fun!

WreckdoM - These lyrics are great. The mood and vocal delivery are (mostly) legit and a small dash of new color, brief, mightn't have hurt. Goes along at its own pace, yet doesn't drag even though not a total casual listen. Perty real, man. Seriously.
Bringin' the stink since 2006.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by Lunkhead »

Gil Sans wins!
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by gizo »

Woohoo Gil!!
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mo
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by mo »

Well deserved Gil Sans!
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by fluffy »

Holy crap I didn't notice Gil Sans was back until I saw that he won. And he's entered three songs in the past couple months?!

Welcome back!
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by vowlvom »

Congrats Gil Sans! Good song!!
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by Paco Del Stinko »

Congrats to Gil! Great tune.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by Gil Sans »

Thanks everyone. It's good to be back after a twenty-year break.

The song was recorded in my basement on my Tascam DP-24-SD. Live drums. Hammond Organ. Telecaster plugged straight into a Vox Pathfinder 15-SMR.
Good to win a fight with some great competition. Keep up the good work, everyone.
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Re: The Doomsday clock says we're (One Minute Closer reviews)

Post by fluffy »

The Song Fight landscape has changed a lot in the last 20 years, mostly for the better. Glad to see that your music has also evolved in that time. I'm still nostalgic for your classic signature lush organ-and-lots-of-reverb sound but your new stuff is so amazing too.
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