The Song Fight Bulletin Board

I would like to participate in this review thread but my computer is on fire. *click*

mc_frontalot wrote:Livin' At The Corner Of Dude & Catastrophe
by MC Frontalot feat. Brad Sucks

Ohhhhh, the rest of you are so way screeeeeewed.

But we have Octothorpe feat. Marcus Kellis! IT WILL BE A BATTLE TO THE DEAoh who am I kidding.

I was actually thinking the other day that I never wanted to be against Frontalot. We should all flood for a certain person so he loses for once ... . Just kidding. I think we all have learned our lessons about friend flooding. Not like I was expecting to win as is ... it's another Our Dog song.

fluffy wrote:But we have Octothorpe feat. Marcus Kellis! IT WILL BE A BATTLE TO THE DEAoh who am I kidding.

I am assuming that because we collaborated with Wages and Jeff Robertson, our entry will magically become someone's "kind of thing". Even though it's too long and poorly mixed. But c'mon people, it has people that you like singing and playing guitar solos. It's hardly Klownhole at all.

Singing AND solos? Wow!

let me be the first to say that damn that bradalot track kicks some serious ass.

Billy's Little Trip - Holy fuck. This is perhaps the best rock I've heard via songfight. It's dirty and trashy and has sloppily-precise (or precisely sloppy) soloes, great snotty vocals. Makes me want to drag up my Husker Du and listen. Well-fucking-done.

MC Frontalot feat. Brad Sucks - I've never gotten on the Frontalot boat, but I appreciate the return to roots. Your lyrics have always annoyed me and your delivery has always seemed snarky. Anyway, congratulations on the win.

Quesadilla Explosion - Sounds like stoner music by sober people. Not clean or dirty enough to pull me in completely, but pretty nice hooky chorus. I like the falsetto vocals that pop up.

Gigavolt Sound Machine - Pretty fun little bouncy thing, and at first I was like "EW VOCODER," but it kind of works. The repetition even works. All the stuff I should hate works. God dammit, I can't be snotty.

TMK - This is really pretty and sorrowful. It really compliments my being alone for the holiday right now, and feels like when it's cold inside and outside and you just try and bundle up and watch tv or whatever. You speak to me, and I thank you for that. Really great guitar.

The Ninja Bachelors - I may have mentioned this before, but your name isn't very good. Also Tom Waits' voice works because it's so natural in its unnaturality, but your gruff voice sounds forced. And so do the lyrics.

Octothorpe - I'm loving that opening riff, then it turns into crazy Octothorpism. Which I think is its own art movement. Spud is the new Andy Warhol? Anyway, the band sounds like it's having trouble keeping up, but it just sort of adds to the calculated madness.

Zipline - This is fucking cool, I love that distant tinny drum sound. I've heard a lot of stuff that sounds like this, but I always like it. It's a great sound, sort of sludgey and ambiguous, but has that pushing out against boredom edge to it. And some jazz. Nice jam, but it takes away from the already too-sparse vocals, which I think could have been mixed a bit lower. But anyway, great song.

Chonchi Station and the Power Converters - Horrible.

Paco del Stinko - I really liked your Robot Baby entry, but this is in a totally new direction that I like, but it seems like it's lacking a little bit in sincerity. Great layered song though with a lot going on without being too busy. My own tastes don't let me love this, but I recognize that there is much to be loved.

Several Thousand Dollars in Motion - Pretty. Aw really pretty. Interesting breathy vocal delivery, but a little flat in parts. I don't really mind though, it's a really nice song.

Wages - I think I've said this before, but your vocal delivery always seems more epic/theatrical than your music. It creates a weird imbalance that really distracts me from what sounds like a pretty cool song.

Melvin - This is really good. Your voice sounds different, I think for the better, in this. I'm focusing a lot on vocals this fight, and your voice and harmonies really support the mood of this. And that twinkling guitar part is good. The chorus is what makes this, though. Again, really good, a real step in the right direction I think.

Klownhole feat. Wages and Jeff Robertson - Aw, that's brutal. Nice organ (not your dick, jeez).

Shambles Square - Hahaha, I love this shit. Like loungier Happy Mondays shit.

Jimmy Jet and His TV Set - White funk with no percussion isn't really a winning combination.

Luke Henley (me) - It took me a while to get this the way I wanted it, and I still wish I'd added accordion. Oh well. Very fun to sing.

Our Dog - Considering your name made me think of That Dog, this was surprising to me. Why make kickass metal and then use fuckin' rathergood.com (aka Quzno's commercial) vocals. Uninspired copycatting is only made worse when you realize it's copycatting for the novelty of making fun of a genre. Of course, you might have been trying really hard and just have a stupid voice. In which case: you have a stupid voice.

WeaselSlayer wrote:Spud is the new Andy Warhol?

Made my day, dude.

fluffy wrote:I would like to participate in this review thread but my computer is on fire. *click*

joke passed off as one's own, without due credit. Reduced chance of vote for Octothorpe as a result? *slap*

I figured that if people wanted to see your Achewood reference in the prefight thread they could find it for themselves.

Bjam wrote:

mc_frontalot wrote:Livin' At The Corner Of Dude & Catastrophe by MC Frontalot feat. Brad Sucks

Ohhhhh, the rest of you are so way screeeeeewed.

Speak for yer-bloody-self. Heapey and The Shambles fear nowt, let battle commence...

WeaselSlayer wrote:Our Dog - Considering your name made me think of That Dog, this was surprising to me. Why make kickass metal and then use fuckin' rathergood.com (aka Quzno's commercial) vocals. Uninspired copycatting is only made worse when you realize it's copycatting for the novelty of making fun of a genre. Of course, you might have been trying really hard and just have a stupid voice. In which case: you have a stupid voice.

I must say, I was definitely expecting this review. Thanks for starting them. I will tell you this much ... Our Dog has always been kind of my 'joke' project, but now the music is starting to get a bit better, so the gaytarded vocals don't really fit in ... I just wish that I could do metal vocals. Anyone got tips on how to use my voice for metal songs?

jolly roger wrote: I just wish that I could do metal vocals. Anyone got tips on how to use my voice for metal songs?

Not that I'm any sort of authority on this, but some random ideas, all of which contradict each other:

Less Elmo, more Cookie Monster.

If you want to sound scratchy like Lemmy or James Hetfield, just start living very hard and screaming a lot. Several years from now your voice will season like a cast iron skillet.

If you want to be able to do the real non-jokey high pitched style, like Iron Maiden, I'm sure there's somebody who can teach you to do that but I suspect the most famous guys were just born with it.

Fuck trying to sound metal. Start trying to sound like Captain Beefheart. Once you get that down, it will sound good over metal music too.

WeaselSlayer wrote:Billy's Little Trip - Holy fuck. This is perhaps the best rock I've heard via songfight. It's dirty and trashy and has sloppily-precise (or precisely sloppy) soloes, great snotty vocals. Makes me want to drag up my Husker Du and listen. Well-fucking-done.

Damn, I really did feel the energy as this song was coming together, but I didn't expect a "holy fuck", so thank you for that. I think it really came alive and into it's own when Paco recorded the lead tracks.

Okay, so I've been a bum and have been gone for awhile. My bad. But after eating lunch with Niveous in his creepy place of work, I've been inspired to speak up on this epic battle of songs.


ZIPLINE - I like the opening, first couple of bars reminded me of this old ass flamenco song I used to dance to back when I still did that. My initial reaction to the vox was to recoil and make a sad face. But you won me over. There was only one other time a little past halfway where the vox didn't seem the mesh well, but again, you won me over.

BILLY'S LITTLE TRIP - Can I be in a marriage with your song? This should be in a movie starring Nicholas Cage.

PACO DEL STINKO - I like this, but it feels a little too polished. I'm a little undecided about that though, because the extra smooth finish fits under the vox nicely, but at the same time, it doesn't sound quite right because it's too clean. Though for a brief moment, this sounded like Dream Theater.

MCFRONTALOT FEAT. BRAD SUCKS - You aren't invited to Billy's Little Trip's Song and my wedding.

SHAMBLES SQUARE - The beginning made me think of the divine miss Kylie. The music bored me, but your lyrics held my attention. Not a bad song in the least, but it also didn't stand out to me either.

CONCHI STATION AND THE POWER CONVERTERS - This hurt my ear, and kind of creeped the fuck out of me. Am I stuck on a carnival ride with a clown? I couldn't finish this, I was going to start hyperventilating.

THE NINJA BACHELORS - OMG DEXTER FREEBISH UNPLUGGED? I've been waiting my whole life.

OUR DOG - Um...as you said, the gay vocals have got to go, and the epileptic bass drum.

KLOWNHOLE FEATURING WAGES AND JEFF ROBERTSON - Epic. Bonus points for mentioning my personal hero, Mr. Robert Zombie. The "whoo" was really out of place though. This song is one I'd have a really dirty affair with, were I a ho.

SEVERAL THOUSAND DOLLARS IN MOTION - The tambourine was unnecessary racket and really ruined this for me. Which was really unfortunate, but it really overpowered everything. Either get rid of it or turn it way way way down.

GIGAVOLT SOUND MACHINE - This song seems to churn itself out. It feels like its writing itself as it goes along and just generating itself, which is really neat. Andrew W.K. only nerdy, turned down, and without the pit stains.

QUESADILLA EXPLOSION - I can't peg this. It wants to sound like something, but it doesn't sound like anything. It's put together well, but it seems really off.

WAGES - If the Darkness were not arena rock, they would be you.

THOSE MEDDLING KIDS - I was skeptical in the beginning. The weird glitter tones could stand to be lowered a hair. I like the vox.

LUKE HENLEY - Sorry I sneezed. This would sound a lot better on your pretty guitar. Though at least you didn't use your little 'travel' guitar.

OCTOTHORPE - This would be really awesome if everyone were together. Unfortunately, everyone was off, and nobody wanted to admit they were off and so it just sounded...eh.

JIMMY JET AND HIS TV SET - This needs some beats. It feels unfinished.

MELVIN - I don't really have anything bad to say, but nothing really struck me either. It sounds like other songs I've heard before.

Bedtime now. Yay.

jack wrote:let me be the first to say that damn that bradalot track kicks some serious ass.

True 'dat.

Anyone got a guess how many votes it'll get? I say 136.

If I'm right, that means you'd need to stuff 17 votes a day in the ballot box to win. That seems doable.

I was glad to see fewer entries this week, from a review writing standpoint!

BLT f/Yours Truly - My first collaboration, although I didn't write any of it. Rough around the edges, I think that's part of what drives the song:it doesn't feel like an imitation of anything, but rather true to itself. Long for Songfight, it doesn't feel it to me as it drives so well. Good mood and lyrics, perfect voice for this too.

Chonchi Station and Power Converters - There are some pleasant tones here, just not neccessarily tied to pleasant notes. Is it burnout time at the Elk's club or trying too hard to be silly?

Gigavolt Soundmachine - I like the melody and half-step business. It made me think of the DEVO Corporate Anthem, although it sounds nothing like it. It warms as it goes but feels as though it ends abruptly.

Jimmy Jet And His TV Set - Sounds like a clean scratch pad. Voice and instruments sound nice, tone-wise, but don't always gel well. Lacking the snap of a rhythm track. Some good ideas left in the cold!

Klownhole f/Wages and Jeff Robertson - Slow spiral into Hell. MR. Wages sounds good here, if a little short in consistency. Mr. Robertson could stand a little taller, but there's such a huge wall of sound, that I understand not being pushed out front. I like the overall mood.

Luke Henley - Nice twisted folk song with good melodies. The lyrics are very good, which they'd have to be to get away with the subject. Snappy tempo and delivery help this much. Good one.

MCFrontalot f/Bradsucks - Great bass groove and clear production. Smart and articulate vocals keep the song from feeling long, some good lines too. I like the hi-hat although it's too up in the mix.

Melvin - Nice beddy time intro. Good melodies, I prefer the open verses here. Good bridge, it sounds inspired by TMK, w/o ripping him off. Some nice lyrics too.

Ninja Bachelors - I like the easy-going feel and melody, the voice sounds familiar from Songfight, although I wonder if it's your natural one. The 'doo-bahs' are good...to a point.

Octothorpe - Wobbley, the rhythm guitar and voice carry this the best as they try and lead the rhythm section along. Some good lyrics and delivery, plus the live sounding recording work well. A little more together and this would be tops, as it still manages to carry a pleasant and upbeat vibe that slips on comfortably.

Our Dog - Some good riff ideas, if a bit unfocused. Bass would tighten this up some. I've done vocals similar to these (!) but I can't understand them well. (thanks for posted lyrics) Pick the best riffs, tighten up and go!

Paco - Further evidence as to why I should not step up to the mic.

Quesadilla Explosion - Red Hot Chile Cake. Fun and energetic song lacking a strong hook. Very well played and produced, the energy is right but the song doesn't stick after it is done. Again, super playing.

Several Thousand Dollars In Motion - I like the sound of the vocal although it's all over the place. There's a nice feel to this song, uplifting or something, non-threatening. I agree with the previous tambourine comments. Sounds nice, but bring it way back in the mix as it is taking away from the overall goodness going on here.

Shambles Square - Austrailian Ian Drury doing disco. Fun, with some good pee-pee lines. The back ground vocals are good as they help add a bit of warmth. A way gonzo bridge might've been fun here and help push this closer to immortality.

TMK - Is it worth more than six votes? Sweet chimey guitars are lovely. I like when the beat has a bit of the get up and go in it. Your voice is a pleasure for me although it sounds strained a bit here at times. Hints of darkness then back into the light. I so enjoy the evolution within your songs.

Wages - Good straight forward progression and vocal lines although a couple lines are off. I like the gait of this and the rhtyhm guitar sound. Leads are shakey. Feels a bit rushed or demo-like at the end.

Zipline - I, of all people, should not make vocal comments here. So. Another excellent jam that takes off with the drums and guitar trading places for who's leading. Bass is fine, just feels like more of an accompaniment. Together, it all takes off and soars with a good, serious, but not deadly serious, tone. Understanding that this is a jam, a change would be cool, making the main parts soar upon their return. Better and better, you guys!

It's early, but I will not vote for myself. I could, however, vote for the song I guested on as I thought that that one was very complete, overall. Thanks for the tunes everybody!

Ed wrote: But after eating lunch with Niveous in his creepy place of work

deshead wrote: Anyone got a guess how many votes it'll get? I say 136.

I bet 200 easy.

Billy’s Little Trip – Too studied in the lore of rock to be a proper trip. All that solo-ing is straight out of Be In The Band chapter 4:“how to inflict horrendous indulgence on an unexpecting Audience” and the singer sounds like he’s been dipping heavily into the second appendix -"how best to slurp a coke through a macdonalds straw while singing”. Very very average. Sorry. Maybe it’s an anti-boy-rock on my part.

Conchi Station: I actually like some small parts of this but none of them enough to listen to four minutes of your produce.

Someone Without A Name – starts very well, nice synthy, slightly gothy mood, then the vocoder which I like. Pretty played out by 1.30 but it’s nice enough use of the Cher Effect.

Jimmy Jet & His TV Set – Oh dear. No Hendrix, you. I can go for the louche vibe, and I quite like the blend of the two voices and the progression in the chorus is cool. Nice bass tone as well. But the rest from ‘you’re my bitch’ onwards loses me. You give the impression of having ‘the chops’ but not quite sure why you bothered, especially to sound so unbothered. This song screams ‘we can do better’ to me.

Klownhole – Too long! Poorly Mixed! Ps Shoot the organ player – you are a rock band, not a prog band. No rock band can justify a keyboard. Nice sample at the beginning. Actually I quite like this but it sounds like the singers are singing to a different rhythm.

Luke Henley – Snigger. If you look beyond the standard “pretty music vs naughty words concept” (some will, some won’t, I did) there’s nothing else, just a yawning chasm of doomlessness.

Frontalot – More Beck than I was expecting. Nice bass tone – reminds me of Little Green Bag (the bass tone not the song). Nice beats too, if a little busy in the hat department. I don’t really engage with the lyrical content on first listen, but I’m guessing it’s full of clever Achewood references I don’t quite follow. Obviously very good.

Ninja Bachelors - Am I meant to compare your vocal style to Beefheart, Waits or Rod Stewart on meths? Any way I like this a lot – the mood is just right – nothing too tricksy or clever, just a very high quality g’n’g that has the good decency not to outstay its welcome, and has a cutesy lyric going on (well, seems that way on first listen)

Octothorpe – What you gonna do when The Kingsmen want the first half of the Louie Louie riff back? Ah, this is great, of course. Mix is pretty good ‘vol 51 of the early Frank Zappa Live Recording complete Set’ feel, although the clipping becomes a bit much towards the end, and also I assume it isn’t (a live recording), unless Marcus came to stay (which he may have done). I digress. Nonsense solo. I want to live in Octothorpe-ania.

Our Dog –


Paco Del Stinko – great opening – the bass is a little annoyingly get-down-get-funky. This is the first week for a long while I haven’t liked your voice on the song you’re singing. Mark Mothersbough frontin’ Led Zepplin is a better idea on paper than it is in my ears…. Hmmm, all over the place as usual – once week you could try not chucking yr bucket of pigs at the wall. I don’t think the chorus is strong enough, although the falsetto is quite sexy. Overall no I don’t like. Well-done but no well done from me. Sorry.

Several thousand …. Less Than 3 was a much better name in my book. I like your breathless technique but this time I can’t really make out that much of a melody. Lyrically a shopping list of references that don’t have any specific meaning outside their source. But well recorded performed and a certain frisson in the fractured vocalising ...

Shambles Square -


TMK – I like yr voice, I really like yr voice. It reminds me of dan treacy or someone like that. I like the shaker, I like the mood – I think the relentless guitar becomes a little irritating after a while, if it was a bit more patchy it might improve the slightly spaced out mood. But yeah, this is good. Some of the missed notes might stop me listening that often, but who am I to speak about that, eh?

Wages – hell yeah, that’s better! Nice drums – who’s playing? Now all you need is a bass a bouncing around in the background and you’ll sound totally great / at least judged on your own merits rather than just ‘get a band’. Good work.

Zipline – a well recorded Zipline song? What is the world coming to? This is good but less punk rock than your rehearsal studio recordings suggested you are, which makes me sad. I really like the vocalist tone here – a little overly dramatic & dragged out but better that than mumbling at yr shoes, right? Like the jazzy breakdown, it is enjoyably inappropriate. Overall good but just a bit grown-up / lacking a big singalong for my tastes.

Smalltown Mike wrote:

deshead wrote: Anyone got a guess how many votes it'll get? I say 136.

I bet 200 easy.

unless he tops 614, I will consider it a failure.