Apparently I have an obsession with variation this week. Speaking as a child of the 80's...
Zombie Love Militia
- Nice trick with the vocal overlay. Its delay effect is perfect -- I don't know how much you practiced the timing of the layered vocal track, but it paid off big time. Knowing the drummer, I was hoping for more percussive variation. This sounds like the introduction to a first-person shooter game (you know, the 3D kind, not the kind where you shoot the first person and leave the others alone). A well-written story and great delivery effect. The guitar effects are compelling too.. the drum loop just strikes calcium carbonate crystals at my cupula.
Those Meddling Kids
- That guitar tone is great. I can't place what that reminds me of, but I like it. The guitar line itself is very tasteful too. But I'm totally missing the title connection. You've got a great thing going -- now's the time to risk it all by adding vocals or something else to tie it closer.
- I haven't A/B'd this with your Having Trouble Concentrating entry (which I really like), but something about this Rocko* entry feels like an inferior demo-quality version of that other song. Very apt guitar work/tone as usual. I don't know if it's the mix or your obsession with minor thirds in the melody, but something here doesn't feel fresh. The "yeah yeah yeah yeah" and "woooahh-oh-oh-oh-oh" parts are so Collective Soul it hurts, in a very good way. I'm very curious what this song would sound like if minor thirds were made a rarity.
Phunt Your Friends
- To help you measure exactly how shallow my waters are, here is my own interpretation of this track. 0:00
: a guy goes to a music store. he sees this really cute chickadee trying to sell candy bars in the store (which CLEARLY she shouldn't be, since there's a big NO SOLICITING sign at the entrance, but she does anyway). So he tries to impress her by playing a nylon guitar. He doesn't know how to play so it just sounds annoying and she keeps selling her candy. 0:52
: depressed and desperate, he plugs his guitar into a nearby amplifier. but oh no, his guitar isn't just generating loud obnoxious sounds, it's also sending morse code! Morse code that says "no soliciting". Of course this just pisses her off. He's smart though so he knows this, and at 1:55
he turns his guitar up even louder to try to cover it up! Yeah, now she's digging the tunes for sure. He's ripping up the joint --- FOR FREE. She's got like 5 people in line though, and she's all out of change (NEVER charge $1.25 for a candy bar, just don't do it) so she needs to run out for money. By 3:10
she's heading outside to get more change. He doesn't know why though, he's too self-obsessed to care. Also, he's nearly deaf. So he just sits and mopes but leaves his equipment on. He's like one of those new nature freaks that's like "all natural everything! no artificial nothings! if we're listening to guitar, we're going to hear actual line noise, amplified. loud and raw. and random." So whatever, he's a mahogony-hugging freak. And she's still not in the building yet -- did she leave for good? He mopes. He breaks out his Blackberry and writes a little memo to his other friend who's online but doesn't really care. The store manager comes in the room, turns down the guitar gain since nobody's using it. This pisses him off. He's all "I was using it you self-important salesman whom I am depriving of any of my money," and by 5:46
resumes his nylon serenade. As if on cue, the girl walks back in from the car. She hears the music. She skips in to the haphazard beat. Butterflies regress into caterpillars. Every member of her 5-person line is tapping their feet. But not to the untalented guitar player. They're just displaying impatience. At 7:30
the line clears up, and it's just the guy and the salesgirl. Aww, how cute. Desperate for attention, he asks her what she was raising money for.
- Our second Songfight collab, and a lot of fun to build. It went through a few phases, from the ultra-crude-and-dirty to the candy-sweet and just-plain-weird
. Our entry captures more of the last two, featuring Puce's guitars, lyrics (THANK you for saving my lyrical impotence), crisp vocals, magic mixage and solo debauchery (very cute how the accordian solo has violin qualities at the same time). I would love to play this live, glissandos and all.
- It's islandy. It's well-produced. It's evaded relevance to Rocko* and Vishnu (or so it seems). It's islandy. It's well-produced. It's evaded relevance to Rocko* and Vishnu (or so it seems).
Max The Cat
- Easily the best remixy "let's repeat the title several gazillion times" song. Loving the stereo bells in the intro, and the various ways you've effected/clipped the title lyric. phone PHONE phone PHONE phone PHONE phone PHONE. Very clear mix. The "what is this crap?" line is funny at first, decreases with repetition, and hits an all-time low with the "this is the stupidest title...", which entirely ripped me out of the song. The mix was like a happy hallucinogenic dreamland where pure cane sugar flakes drift down into puddles. Where there's always a swing free for you. Where even the dirt is a friendly pastel. And then I'm ripped out by cane to the neck, held by a guy with a raspy voice, and forced to pick up cigarette butts, press them into cigarette balls, and fuse them in outer layers of my bare flesh.
- I could hear Sheryl Crow covering this, especially by the time the percussion kicks in. Your vocals are so clear, and harmonies so effortlessly delivered that I'm insanely jealous. Great lyrics, great delivery. The loopage doesn't even bother me. Just one question: if the aliens captured you and you can't come back home, how did this song reach us?
- Hey, this isn't Ji..no, wait, it has to be. It says so right here. I usually associate you with guy-and-guitar songs; this is such a departure from my preconceptions, and you get major points here. Lyrically pairing Rocko* with "Crinkle Binkle" kicks my smilers. Had I not known this song were yours, I don't think I would have enjoyed it as much. It's not as reach-out-and-slit-your-gummy-throat-and-fill-it-with-omega-3 in the rappity delivery as I like. And I don't know what to think about the song-title collage, so I'm not going to! A fun listen.
Frankie and the Falangists
- I likes my meat. Gets better with every listen. Something about the falsettos just draw me in. I think it's the detuned nature of them. You've got a lot of subtle effects going on here. This track would fit well in my New Order/The Bravery playlists. Good drum rolls too. If only the tracks had more strength to them (simply a compression/maximization issue, I think). That little bit of production shine would put it over the top.
- Relaxing sea of guitars and reverb. Must..not..gaze..at..shoes. Gave me time to reflect my inner being, and then scream without anyone hearing. Ultimately the synthy percussion sounds take me out of the mood. So where are those vocals? You've got a good vibe going but it needs more to keep my attention. YOU ARE THE ULTIMATE LEMONADE. I enjoyed drinking it, but I'll never be thirsty for more.
- Not fair. Share some of that percussion with the rest of the class. Caravan Ray is Alanis gone too Supposed. I like the beats and sincerity of the non-vocoded parts. Not digging the vocoded looped title line though; I get tired round these parts. You and Max are competing for the same taffy this week, and I think he wins this round.
- 30 seconds into it, I'm not feeling the title. 60 seconds into it, I'm not feeling my legs. The song isn't horrible, but sounds incredibly cheap-synthy, and I've heard all of these sounds before. Try some instruments, effects, or melodic approaches I haven't heard before. Oh, and make me feel the title connection. Getting me to appreciate an instrumental song based on a title challenge is like entering a very stylish-but-empty jar into a state fair's jam contest.
- Woot woot USA! States fo-eva! Red white and bl-you-go you go! Ah, yeah. The vocal timing is pretty good, but it sounds like you're missing some confidence - like the delivery could be stronger. Maybe you're tired; did you record them late the night before the song was due, like me? You might be able to cover some of this up by throwing your vox through some type of distortion effect. Dudes, go mad with the vox. Believe in it. Or imitate a strong rapper; your "assembly fantastic" delivery was perfect, so you've got it in you. Hate the mic as much as you love the USA and you're gold. Eternal!
Ashok and Phunt Family
- Sorry I missed you, but -- and this is the troof - I wasn't able to download your song.