Adam Dachis- Short and sweet, this is worth extending if you wanted to, although it's complete as is. I like the clavi and synth mix leading the instrumentation, with drums and guitar in a more supportive role. Nice vocal work as well, a bit bittersweet. Nice work.
Berkeley Social Scene- Right out of the gate and galloping away, yikes! It almost sounds like Steve Howe in country mode or something. While Erin's voice is probably more tender to the ear, I am liking Martyr's here and am glad that he finally contributed! The guitar trade off is most excellent, anti-wankers be damned, and nice to hear the Lunkster cutting loose a bit. Great atmospherics on top of the almost secret rythm section, very strong and hopefully not going unnoticed by all. Maybe not catchy enough for the masses, and the arrangement almost wanders off course, this is an enjoyable display of solid musicianship and mood/feel. And of course, interesting time sigs, although likely to have been there anyway.
Billy's Little Trip featuring Paco Del Stinko- I like this team, and yes, because I'm part of it. The guitar parts I contributed were not as interesting until BLT worked his magic on them, making the much stronger than if he'd left them alone. The vocals may wander a bit, pitch-wise, but are delivered strongly and with feel, so I can't complain. Nice twisted lyrics as well, this song would fit well as video soundtrack with snappy edits of horror on top. Simple and effective builds in the mix ease and push the tension nicely. Sweet? No. Dark fun? Yes.
The Booty Chesterfield Trio- I'm OD'ing on Booty this week with the CD and all, but this is like pleasantly choking on sizzling bacon: that guitar is frying-in-grease delicious. Sleazy groove and skankarific vocals sell this very well. I can see some people being turned off by the boozy feel, but this makes me want to jam until we all end up on our backs trying not to be the first one to quit. I have no idea what you're singing about, and I suppose that as long as it's not about glorifying the KKK or raping babies or something, I don't know that I care. Maybe a purely evil bridge would've been neat, but this one gets a little scary. Chewy goodness.
Chumlords- Straight up no bullshit, well, maybe a little bullshit, interpretation of MC Eric B's vocals. They fit the style well the sped up voice gets a little ear piercing, but sits well on top of the grungy bass and guitar. As noted elsewhere, a more developed guitar line would've been cool, but the ratty sounding chords are pretty good. Drums are sloppy as well, but as a whole, the song works. Next time, faster!
Dante LeChunk- Pleasant pace, moody and introspective feeling. I guess this could work well to imply interesting time somehow. Maybe underneath a public service message or something. The layers are nice and the E major chord is almost out of place but works. I relate to the lack of lyric criticisms, and border on feeling too wet from all that chorus, but enjoy this as a mood piece. Nicely played and arranged, although there is something about the baseline guitar tone I'm not sure I like: direct acoustic, maybe?
Electric Needle Room- This sounds like it could be a solo or not full ensemble of the Emergency Pizza Party. It sounds so similar to that style, delivery, and approach I'd be surprised, shocked!, if it weren't some of that crew. Anyhoo, I like the near geeky, slightly futuristic vision of this. Futuristic as imagined the future would be by someone from, uh, the past. A few too many times with the interesting times line, I like the basic message and theme. It'd be nice if more people could think that way, let's hope that they do both this fall, and in the future as well. Fun song that neither fails nor reaches great heights.
Flvxxvm Florvm- Boy, the vocals are just hanging on rhythmically, but I totally dig the old school rock and roll feel. Almost Rocky Horror at times, but less showy. (a good thing) Guitar solo and tone are totally fab and distinctive. A more raw, aggressive approach to the song as whole would've packed a bigger punch. Turn up the Iggy knob, I suppose. But the no pretenses delivery gives it legitimacy. Fun one to jam live too, I would think.
The Hand Formula- Here comes Penny! While we all have our own styles and slide into them regularly, this song starts off very similar to your other entries. However, it does spread its wings a bit arrangement and melody-wise. I like the instrumentation, but do start to tire of it a bit for the length of the song. I just don't think the melodies and all that are strong enough to travel this far. The lyrics are mostly good, if a little self pitying at times. Holds itself steadier than maybe it should, not unpleasant, just needing a trim here and there.
Hijack & the Requests- This makes me think of the song Dirk Diggler sings in Boogie Nights. If the bass played the same song as the guitars it might help, but probably not much. I imagine that this is deliberately constructed this way and not done by a complete moron who can't help it. Oh, please, I hope so. I think.
Jan Krueger- I like the rhythm to start, and the chord progression into riffs are very interesting. The main melody is fine, if wobbly, while the wonderful backing vocals are tight and full. I start thinking there's some studio trickery involved in the back vocals, but then they sound live. Hmmm. Anyway, nice tune that would punch some serious face with bashing drums and a bit more rockitude, but the delivery here is enjoyable. It all could afford to be a bit looser, and remain slop-free, but understood that the time frame was short to write and produce. Nice work, hope you stick around. (I enjoyed your AAD as well)
Johnny Cashpoint- Well, I like all the flangey, swirly stuff here. I don't think the song would be boring without it, but the colorization adds to the character of the song. I hate to bring up Psychedelic Furs, but there you go! The chorus is hooky enough, and I get a little happy when I hear it, enjoying the pleasure it brings for the couple of seconds that it lasts. I like the transition into the bridge, out of, less so. If I had to pick out something that bugged me, which I guess I am, it's the snare. While appropriately dry and crisp, a little too stiff, perhaps. Still, nice easy going song. More, please!
Jonathan Mann and the Not-So-Flats- The chorus voices are so nice here, settling into themselves as the song progresses after a slightly hesitant feeling start. This sounds like something that's always been around. I don't mean like a tired old copy of something but as something more ingrained. I get almost goose bumpy midway, but not so much in the last minute. SF! critiques often cite "too long" as a complaint, and I feel this one does go on too long. It doesn't drag, but loses some of it's power, perhaps as you get too comfortable with it while listening. Regardless, this is a mature, well done piece of music that with time and many performances, should be familiar to as many people as possible. Excellent work, sir.
Madgin and the Party Bears- The voice here is very nice, and fits well in the quieter parts, especially. A bit more oomph in the rocking parts would sell this better. Speaking of which, while the separation of instruments is nice on the rocking part, I think a huge blended wall of bass n' guitars would been much more powerful. Nicely played and arranged, the one pattern drums get a little wimpy, and although the vocals were maybe intended to rise up, I think you could have done so throughout and still elevated at the end. Understood if time and equipment limit you to keeping it simple, and hell, what's wrong with simple? But power would've sold this in a big way. At least it wasn't a moody 'poor me' piece. Please keep at it.
Mailbox- Nice and catchy, you avoid the stiff feeling that could come with the main rhythm well by letting it breathe when it needs to. Nice chord structures that vary more than they initially appear to. While catchy, it may fail to deliver a knockout hook. Also, some supporting vocals, whether simple ooh-ahhs or fancy schnoodle-doodles, would've been real sweet here. Time, yes, time. But perhaps something to think of if you examine this song further. I like the even keeled instrumentation with nothing taking to center of stage approach. And while others mentioned Beatles, I just heard New Pornographers as I was typing. A good thing, that, as long it still sounds like you. Looking forward to your next tune. Wheee!
MC Eric B- Fighting that vocal delivery that feels natural to you, and just winning. I'm sure that your music comes pre-fabbed somehow, but nice job changing it up from many of your others. Funny how the delivery here is more bittersweet than the other song that used your lyrics in a punk manner. Nice social commentary, though, without getting preachy and offering up all the answers. When I hear the rimshot during the verses, it sounds like a 'toc', making me want to hear another on going 'tic' to counter it and in relation to the clock counting down. Oooo-what a deep concept, eh? Pleasant song, points for trying to move ahead.
Melvin- Hmmm. Who could be coming from Chi-town? Bill Bennett? I was all happy when during the intro speech, I thought I heard tinklings of "Dream Weaver" and then it became a very important element of the song. Even if in a different context tha originally written. Certainly very well constructed and delivered, I think a slight increase in BPM wouldn't have hurt, although the groove here is pleasant. It might've provided a better backdrop for the vocal cadence however, which almosts pauses too long on some of the lines. I know that you're saying something different, but unfortunately, we're dropping bombs that aren't paid for yet. I'll always love you as a human being and a musician, Melvin, despite some of your 'mis-alignments'.
The Narcaloungers- Hah! I almost expected Ian Anderson to start singing. This is much better, in my book. Serious in tone, and with some seriously good tone, this moves along at a nice pace. I like the little dissonant chords, along with the entire progression, and sorry to name drop again, but the very Dave Gilmour-ish slide is a perfect fit. I think this is very well balanced and doesn't tip too far into any area that either goes on too long or doesn't sit well. I almost want to say that the melody could vary a little, but that probably helps maintain the even pace of the song. The recording is nice and for live, it feels it more than sounds it. Does that make sense? Very nice, and your liquid inspirations don't show.
Paco del Stinko- Well, I didn't mean for this to sound all "the world sucks" as people have stated. But sometimes I slip from skeptic into cynic, I suppose. I liked playing the bass line best, it varies just a bit throughout the song and was fun to do.
PiGPEN- Contrary to others, I though the music was pretty compelling here. While still maintaining the trademark PiGPEN major/minor shiftaroos, it's not as random feeling as others have been. There is an airy quality to this that I like a lot. While very programmed feeling and all, it's still able to put my head in the clouds for much of the song. Kind of digital Sonic Youth, or something. And yes, PiG, your vocals are pretty much spot-on pitch-wise. There's no strong melody to grab you here, but again, I'm really digging the music tracks. I don't understand all of the lyrics but hear some interesting lines going by. Still, one of your best, sir, and keep'em coming.
ShotPounder- Sounds like Smalltown, who isn't around here enough. And doing a somewhat trademark rabble rousing in the club chant alonger. I don't know who the other fella(s) is/are, and I can't make up my mind if the drums are real or not. I'm sure Leaf could do that stuff both playing and production-wise, even that crazy high-hat, probably. I like the rhythm, feeling like it's just holding back from really tearing it up. Great urban feel, driving at night under lit up skyscrapers on the way to the club to rouse the rabble. The sea of interesting times repeated works well here, not overdone although there's a million of them. The bridge feels a little weird to me, but I like how it breaks down very much. Good tune, making me want it to deliver a big face punch that doesn't come.
Sven Mullet- Still in cahoots with Bob Mould, it appears. Who'da thunk it? Serious and gripping, I like the airy vocals over the driving guitars though the voices could maybe come up just a smidge. The bridge is excellent, I keep hearing it as coming in in a higher key or voicing, for some reason. Or maybe coming in high and falling down. It does that to a degree, and I wonder if you left something out of the mix there, as some vocal work would be sweet. This is a strong tune that feels like it's not telling everything it has to tell. Hidden vocal track? Missing lead? I dig it anyhow.
Todd McHatton- I love the melody and am glad that I can't recall the one that it reminds me of. Just getting some of those vocal lines in, eh? The arrangement and its dynamics are wonderful, as is the best instrumentation. While I enjoy the nice vocal work and horn sounds, that has to be one of my most favorite guitar solos in a long time. Loopy, jammy, and memorable at the same time, that's top notch stuff right there and I am somewhat envious at its construction and execution. Great upbeat tune that stands out in a pretty diverse fight. Mix is a little hot in spots, but secondary to tunesmithing.
The Weakest Suit- I like the main progression the further into itself that it goes. A whiff of Radiohead into Weakest Suit trademark territory works fine. The little extended bits here and there, along with simple variations of themes make the song feel more than just ABABC etc. Kind of a last dance feel mixed with a personal love song vibe here that works well, if not long lasting. Nice to hear it filled out more with drums and bass and all, even though I just realized the drums come and go! A backing voice, high and behind the main one on the chorus, might be cool.
Yardboy- Energetic and upbeat, I'm sold by the voice. You obviously are an experienced singer and it shows well here. While the guitar playing is spot-on, it's both the character and delivery of the voice that sells this. The little arpeggio, I can't tell if it's on guitar or keys, just behind the main guitar, is a nice subtle hook that secretly pulls you in as well. The bridge works but is probably the weakest part of the song. It works OK, just isn't as strong or as memorable as the body of the song. Nice work though, and genuine feel is captured in the recording and performance.