That's the longest one I've ever seen (RE-TVC Reviews)

Discuss upcoming, current, and previous song fights.

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Postby erik » Mon Nov 07, 2005 3:28 pm

Furrypedro wrote:pissing people off with music is a lot of fun, you should all try it sometime.


I have plenty of fun making music that doesn't piss people off. Thanks for the suggestion though.
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Postby Albatross » Mon Nov 07, 2005 3:33 pm

Furrypedro wrote:this is my first track and post on songfight


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Postby j$ » Mon Nov 07, 2005 5:20 pm

Furrypedro wrote:
Thanks for all yer comments on Those Meddling Kids; I think next weeks track is gonna be a bit more conventional. Though on that note I would also like to thank Phunt for introducing me to songfight, and congratulate them for not giving in and trying to make "proper" music, as I'm sure they're just doing what comes naturally and pissing people off with music is a lot of fun, you should all try it sometime.


Hi

the irony is, of course, is that your song this week is entirely conventional, structurally and tonally. making something instrumental doesn't make it unique per se.

But thanks for the advice :)

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Postby catch » Mon Nov 07, 2005 8:25 pm

Furrypedro wrote:...pissing people off with music is a lot of fun...


But unchallenging.
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Postby Egg » Tue Nov 08, 2005 12:53 am

wow

Ashok and the Phunt Phamily - Way to go. The percussive track really does accentuate how crazy this is. You dog. Very eastern feel without actually ripping off traditional eastern music. I also like really like the crazy far back up vocals. The subtle counting that occurs very briefly does wonders for floating my boat. I am shocked to hear my recorder was pleasantly fitted into this! Yay. Oh, and the panning crowd noise(?) in the back is pretty cool.

Beefy - There are a few elements early on that are striking me as things that would be great if they were approximately two more notches of badass. Like, for example, your handclaps should be a little more real and threatening, if that makes sense. The chords that are keeping time for me feel like they could be a bit dirtier too and maybe slightly more extended for a droney freakout feel. Interesting little anthem.

Bombathon - I tried to find an "oriental electronic" show advertised in Nantes the other day and it turned out to not exist... but here it is! Cycling makes its appearance. Interesting rhythm changes when different bits loop in. I'm glad it ends when it does, but that ending might have been better if it was more spectacular and explosive.

Caravan Ray - You're so dirty! Good tiger roaring/Cycle-revving. Whoa, then you're suddenly actually sounding like Indian singers. You kook. This feel similar to our collabs with you except uh, maybe this is better. hehe. On multiple listenings, this song just gets dirtier and dirtier. This is really funny and I like the vocal effects both electronic and just your plain old stylings. They make this really stellar.

Charcoal - first few bars made me wonder "wow, who the hell is this?" in a good way. Oh it's you! And you're not rapping. This is a double win, in my opinion. Wow, this is really amazingly cool. I want to drive around the southwest and beat people up. It feels like a cycle even though it evolves too. Maybe that's just me. Everything is bending to fit the title now. You know, I want to really quickly say that the drums don't really fit the feel of the rest. I think it's fine in the end, but it might have been killerific or something if the drums were real-er or not so cut short sometimes. That big change around 4:30 feels good. You pace the ending well like that, ya, and then that resurgence.MMMmm. I definitely want this on my southwestern adventures soundtrack... Mogosagatai might object unless you put different drums in. He just won't be allowed on this particular adventure.

Frankie and Falangists - More tiger love! Haha, lyrics. That screechy distortion sits pretty well with me. Man, you have as many different vocal effects as Ray this week. When the vocals got really screechy, I lost track of what you were saying and it happens on subsequent listens too. So really, I kind of lose the lyrical thread until they never made it home and then the rappin type business. On the whole, I like the vocals a lot on this, with the whole effects and kaboodle. I also like the way you're balancing the guitar throughout the track. It rests in the right headphone just long enough before taking up its central position each time. That buzz at the end is cool too. I feel like you could have put a bit more reverb on the left at the end.

Glenn Case - This is some pretty clean stuff. I think it could groove more with better/more prominent drums. Maybe some foot-stomping like on a wooden crate or a wood palette. That staccato deal is cool at the end.

Jim Tyrrel - I think this is awesome as a "songfight track" or a track about songfight. I like it a bunch. The actual title, crinkle binkle and baba ganoush are my favorites, probably because they just set up that sonic funkiness and don't worry so much about making sense. That breakout loop with the woodblock at :53 floats my boat. Especially when it comes back with that big banging thing a tiny bit later for the end.

Max the Cat - This is fun too. Wow, this is max the cat?! I guess this title doesn't exactly scream for a traditional genre foray, but, man, you are a kook. Your what is this crap voice reminds me a lot of somebody who I can't finger exactly. People are really going nuts with some of those wackier percussive loops. I like the pacing of this. It could stand to be a little less selfaware. Once you're just scatting behind the mispronounciations, I'm loving it. You sort of take me out at the end with more meta nonsense. This too is a great "songfight track" but it could've easily been a great one in my mind even outside the sf context if you had kept it less self referential.

Melvin - You guys sure are smooth when you want to be. Very pretty. This would be an interesting song to break up what I think of as a traditional Melvin set. It's a little more parrot-headed than what I imagine you playing so it makes a good pace-change mid-CD.

Mostly Harmless - this is fun and cool. The keyboard gets me in a good good way. I'm really glad it came in and danced with the guitar. You remind me of the cow exchange, especially at the end. And, as it turns out, it's because you're in this band. Haha, what kind of solo? Bike horn? haha. You guys are very silly. The end is silly almost in a bad way, ya? The pacing between the knock him off and take it and ya okay seems wrong. Doesn't seem as genuine as the play in the rest of the song. But wow, still great.

Phunt Your Friends - "I don't anticipate voters rewarding this type of behavior. In fact, they'll have a field day ripping it apart. Is it art? Don't even start. I'm being greedy because I've got a record going. I've been involved with an entry a fight. You think I'm blowing that? Just for the sake of consistency, I'm putting this out there and I plan on people dissing me. At least it shows that I can be a good sport. You may think that this is stupid but at least I kept it short." and mark down dramatic irony in the margin of this thread for later. And normal irony for the keeping it short part.

bah, I should also say that this quote is interesting but I'm not just posting for the sake of consistency. I thought this week's track was really good. I wish people didn't hate it or me so much. It's especially tragic that so many of those who hate me are from the old crowd of SFers who we have a fair amount of respect for in general. You know, oh well. It's also really nice to see some people leap up with some kind words. The harsh words are welcome too. Eh, keep going, everybody. Also, feel free to email or pm me and talk to me in some more standard form of communication about anything you have on your mind. And, ya, the reviews this week have been pretty interesting. Luke usually just sends his thin-skinnedness toward us in private conversations, but since I was away, you guys got in on it. :) No worries.

Smalltown Mike - This has a good stm groove going. I feel like this has cooler vocals and narrative quality than a lot of your songfight work. Even though it's pretty cheesy, it's neat and badass in a Beowulf kind of way. While I think some other music, like Charcoal's, is good "beast-slaying music" I think you have made excellent "talking about beast-slaying music" which is interesting.

Those Meddling Kids - Way to make electronic music. Every track I've heard from you manages to keep it interesting while still sticking to some sort of minimalism that I can really appreciate and cling to. I'm glad you came out. Stick around. I'll lower the curve for you.

Zombie Love Militia - Wow. The world needs way more dual vocal tracks about the origins of folk music explained through what seems like a mad lib. This is an outstanding mix, story and track. It might not stand alone as a classic but I will include it all over the place in compilations that need this sort of thing which, I will stress again, is a large number of compilations.

edit: after repeated listens, Jim Tyrell is actually getting the stuck in my head award at the moment. It's not a vote, but it's something.
Last edited by Egg on Tue Nov 08, 2005 8:10 am, edited 1 time in total.
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Postby Smalltown Mike » Tue Nov 08, 2005 5:56 am

Ashok Henley And the Phunt Family

I like parts of this a lot. The line about the monkeys losing their brains is good, and the general riff is good. The wailing backing vox not so much.

Beefy

Clever breakdown of the title. The music is lacking though—a nice fat beat would go well. Flow is all right (uh, awight?) in the nerdcore.

Bombathon

Not at all my thing, but I’m really digging it. A fatter beat would help it a lot. Vox would be good to tie it to the title, but the song doesn’t really need it.

Caravan Ray

This is kind of mesmerizing. I can’t really think; it’s great. I like the motorcycle sound effect, and the computer-like title repetition. Great work. Keeper.

Charcoal

I find this really slow, doesn’t really go anywhere.

Frankie and the Falangists

The intro seemed long, but this is really good. Best J$ I’ve heard, I think. The mellow verses and the backing vox work really well. It would be nice to hear your voice clean sometimes in this; the distorted vox are nice but variety would be good.

Glenn Case

Nice take on the title. The story keeps me interested, and nice chorus. I really like the groove with the drums; this is great.

Jim Tyrrell

This is really funky, and the rapping is great. I wouldn’t have expected to hear you rap, Jim. The rinkle/dinkle line I don’t like, but everything else is good. I agree it’s short, and longer verses could have fixed that pretty easily. And the lyrics are pure brilliant genius, the way you juxtapose the ...

Melvin

Great stuff—not really much to say.

Mostly Harmless

This is the first one that really stuck in my head when I listened to the fight. Love the way it starts, love the two voices working together. Love the “bit challengingâ€
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Postby Niveous » Tue Nov 08, 2005 2:40 pm

I've been enjoying the quirky lyrics of the Frankie and the Falangists song. But I have one question. You bring up the last episode of Battle of the Planets, saying that Vengor was a woman. I thought the character was Zoltar. Is that just a transatlantic name difference (Just like how the show is Battle of the Planets or G-Force or Gatchaman or Eagle Riders)?
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Postby j$ » Tue Nov 08, 2005 3:20 pm

In answer to your question, no, it was Zoltar over here too - the lines

'Did you see the one where Vengor was a girl? / Oh hang on that was Battle of the Planets, now'

is meant to be a colloqual way, 'did you see the episode where the lead repeating baddy is a girl? Oh no my mistake, the show of which I speak was BoTP.' Also there was something very similar about the two villains - perhaps they were multiverse versions of each other???? :) Although I also preferred Zoltar's campy evil to Vengor's 'Arnie as Mr Ice' approach.

Hehe, if you missed it, Niv, I actually wrote a little wanky 'explanation' of the whole lyric here - http://www.johnnycashpoint.com/revcanaylsis.txt. Some of it's even true!

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Postby Ryan » Tue Nov 08, 2005 6:18 pm

Max - remember when Steve Reich, Zorak, and Was Not Was came over to your house and jammed? That was cool.

Smalltown - bad snare sound, good vocal effort, nice chorus

the kids - nice intro, no wait, that was the song

Zombie - fun, ninjas are cool. http://www.realultimatepower.com

Melvin - Sounds like Son, Ambulance. The upstroking guitar riff needs work, but your vocals sell the song. You might sweep. Is that allowed?

bomb - sounds are cool, arrangement is good, but someof the parts seem thoughtless like you just looped a random series of notes. Maybe its the disonnance that gets me.

caravan - tablas and the princess lea in bounty hunter costume. I like it. I will spare you the wrath of Jaba.

mostlyharmless - sounds like the new get up kids record. nice harmonies. more rock, less cock, less solos, more harmonies, cute ending.

frankie& - real drums are good. didnt make it though.

glenn - solid goodness, one less vocal track and one more guitar track would be good.

jim - references up the wazoo. if I wanted your nerdcore song to be good, I'd listen to MC Frontalot. Fuck it, I'm voting for you. pour one for the fallen ninja homies.

phunt - lo-phi lo-enjoyment

beefy - repetitious. meh, jim has you beat on the nerdcore scene this week.

charcoal - cool intro downtuning effect. you should get the new Tristeza record.

askophunkapuss - nice pots and pans percussion sounds, fun stuff, hidden track on a David Byrne Violent Femmes tour support ep
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Postby Rone Rivendale » Tue Nov 08, 2005 10:08 pm

As with Brimming with Tears, I gave up on doing full detail reviews after I already did mini-reviews and I'd just be repeating myself.

I ended up voting for Zombie Love Militia because I really liked the storytelling in the song. I probably wouldn't vote for another song done in this way ever again, but this time it worked perfectly.

I also enjoyed Beefy and Smalltown Mike's entries alot.

I have to say though that Brimming With Tears was the stronger song this week in my opinion. It's probably due to the difficulty of the title. I do admire those who went the extra mile to do this song. I chickened out and did Brimming With Tears. :)
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Postby Egg » Tue Nov 08, 2005 11:07 pm

I thought this fight was superstellar. Especially compared to those nasty kids at Brimming with Tears. Some good stuff is happening in both though, and I'd say more than usual.
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Postby Tonamel » Wed Nov 09, 2005 2:31 pm

Mogosagatai wrote:It's much more thought out than my reviews. I'd be amazed if anyone other than Egg and myself know of even half the hidden subtleties in our music.

But that's the problem, isn't it? I mean, you can't say that AND get defensive when people accuse you of writing songs just for yourselves. And calling your own work genius isn't exactly going to win you any friends, since that's essentially calling everyone who doesn't 'get it' stupid, as well as being like waving a giant banner that says "I can't be reasoned with!"

I'm no stranger to experimental music, and I'll say that I found all three parts to be tedious bordering on annoying. Puce had it right when he said you had some great sound design ideas. Melvin had it right when he said that it doesn't go anywhere. And Mostess had it right when he said that it's too underdeveloped to be of interest to anyone but yourselves. (Though to be fair, I think he was dead wrong with the "It only takes 15 min to write a song" stuff.)

While there are a number of people here who will never really appreciate anything you do, there are also quite a few who are honestly trying to get you to improve your game. And all the hostility stems from the fact that you tend to treat the latter as the former, and never end up trying to improve yourselves.

It's like you're the musical version of Twisp and Catsby.

So take the criticism, work with it, try to do better next time, and people might begin to take you a bit more seriously.

That said, I need to get off my ass and into some Fights, since I just realized that my first (and last) entry was way back in April. Heh. Go me.

So really, everything I just said can easily be tossed aside with a "Put up or shut up," but I wish you wouldn't. I already know.

[edit: Puce has destroyed my brain. For the record, that's easily done.]
Last edited by Tonamel on Wed Nov 09, 2005 2:58 pm, edited 1 time in total.
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Postby Adam! » Wed Nov 09, 2005 2:46 pm

Tonamel wrote:I'm no stranger to experimentation

I had expected that to link to a video of some kind, possibly filmed at college.
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Postby jimtyrrell » Wed Nov 09, 2005 2:56 pm

Ryan wrote:Fuck it, I'm voting for you. pour one for the fallen ninja homies.


I got a vote! Word! Represent in the Re-Present!

I did have an awful lot of fun doing this one. Don't worry about it being a recurring theme or anything though. Back to med-fi GnG for me.
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Postby Mogosagatai » Wed Nov 09, 2005 3:22 pm

Tonamel wrote:
Mogosagatai wrote:It's much more thought out than my reviews. I'd be amazed if anyone other than Egg and myself know of even half the hidden subtleties in our music.

But that's the problem, isn't it? I mean, you can't say that AND get defensive when people accuse you of writing songs just for yourselves.


Yeah I can. Let's say someone writes a song with a hidden message in it, and no one ever notices, merely because they don't think to look for such a message in the context in which they're listening. Then the guy comes around and is like, "you know, there's a hidden message in that song". Well, he obviously didn't write it just for himself--he wants other people to look for it. Is that actually a problem? I don't think so. So what I was implying in that post was, "If you want to find meaning in our music, just look a little harder". Or don't. Nobody has to pay any more attention than they want.

Tonamel wrote:And calling your own work genius isn't exactly going to win you any friends, since that's essentially calling everyone who doesn't 'get it' stupid, as well as being like waving a giant banner that says "I can't be reasoned with


Sarcasm tinged with truth. Or truth tinged with sarcasm? Anywho, saying "I really like my own work" hardly means "I can't be reasoned with".

Tonamel wrote:you tend to treat the latter as the former, and never end up trying to improve yourselves.


Not true, man. I don't know what made you think that. Criticism is my bag. Helpful comments are always appreciated. The ass-huge flamewar in the previous pages sprouted from one review, which I responded to only to say that Phunt isn't just fucking around or being intentionally aggravating (as the review implied). Then a lot of people got mad at me. But uhh... Phunt is always trying to improve. Who isn't?
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Postby Tonamel » Wed Nov 09, 2005 3:30 pm

There's a difference between pride and egotism.

Guess where "I'm a genious!" falls.
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Postby Mogosagatai » Wed Nov 09, 2005 4:10 pm

I'm also better than Jesus Christ.

/sarcasm tinged with truth (or truth tinged with sarcasm?)

But yeah, I'm an egotist like crazy. I just don't talk about it much. This thread is a slight exception. Is it bad to be an egotist? Maybe we're defining it differently.
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Postby erik » Wed Nov 09, 2005 4:32 pm

Mogosagatai wrote:I'm also better than Jesus Christ.


No, you're more <i>proficient</i> than Jesus Christ.
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Postby Tonamel » Wed Nov 09, 2005 4:46 pm

Mogosagatai wrote:Maybe we're defining it differently.

I believe we are. Dictionary.com to the rescue! Here's how I break it down:

Pride: Pleasure or satisfaction taken in an achievement, possession, or association

Egotism: An inflated sense of one's own importance; conceit.

Egotism is pride taken too far. And while pride can be used to mean egotism, the opposite is never true.

It's never bad to like your own work, but let others decide wether it's genius or not.

Also:

erikb wrote:No, you're more proficient than Jesus Christ.

Lolé!
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Postby Mogosagatai » Wed Nov 09, 2005 5:01 pm

Ah. We are indeed defining it differently. I just took it to mean "really liking or respecting one's self".

Others can decide for themselves, of course, but I meant what I said (a bit sarcastically, albeit). Let me say it in a less sarcastic way: I really, really like all three sections. Oh and also, my collaborator, Egg, makes music that is nothing short of genius. I mean it. Lots of people will disagree. I'd really hate to have to resort to the "it's just my opinion" argument, because I really hate that argument.
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Postby Egg » Wed Nov 09, 2005 11:34 pm

This is all very interesting.

I know a lot of us have already reviewed, and this thread is actually the closest thing to a Fight-Discussion I've ever seen. But uh..

Stop it.

On another note, <a href="http://www.songfight.net/forums/viewtopic.php?t=1721&start=0&postdays=0&postorder=asc&highlight=">help and how to</a>, where I know you won't get pithy just because I want to be more proficient than Jesus.
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Postby Plat » Thu Nov 10, 2005 11:17 pm

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.

Smalltown Mike - 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.

Mostly Harmless - 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.

Melvin - 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.

Glenn Case - 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?

Jim Tyrrell - 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.

Charcoal - 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.

Caravan Ray - 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.

Bombathon - 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.

Beefy - 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.

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