Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Discuss upcoming, current, and previous song fights.
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slats
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by slats »

Phil. Redmon. wrote:Hey guys:

I made a video for my entry.
Wanna see?
http://destro-simpson.livejournal.com/233880.html
That was a panic! Thank you.
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Teplin
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Teplin »

Generic wrote:I listened again while driving to and from work, and had the following observations:
The pitchy vocals in Howl Down the Chimney's entry aren't really bad at all, nor was I right about the pace dragging after the solo. I'll probably vote for it.
That must mean you got it to work on something besides your browser. Good!

BTW, Jon, I owe you a debt of gratitude for linking to that Angry Video Game Nerd Superman review. I ended up watching all the AVGN episodes, and they brightened up an otherwise dreary week.
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Heine
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Heine »

coder_lyte() wrote:With a lack of good distortion effects for my guitar, I would up filtering the rhythm way too much since the high frequencies seemed to clash with the piano.
Hi coder,
last weeks I spent some times checking out the song fight forum. I finally found the lyric archive and the introduction to new players...
...and the "Free Plug Ins" site http://songfight.net/forums/viewtopic.p ... &sk=t&sd=a. There are some really fine links.
I downloaded Guitar Suite http://www.simulanalog.org/guitarsuite.htm. Simulating a Marshall Amp and some Boss Overdrives, simple to use (as VSt plug ins). It is so cool, I'll be using it for the next "Love Me..." entry.
www.heine-musik.de - Stark autark! - Keller Kollektiv - Vince Link - "Paragon of Teutonic Gloominess" - Elaine DiMasi
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JonPorobil
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by JonPorobil »

Teplin wrote:
Generic wrote:I listened again while driving to and from work, and had the following observations:
The pitchy vocals in Howl Down the Chimney's entry aren't really bad at all, nor was I right about the pace dragging after the solo. I'll probably vote for it.
That must mean you got it to work on something besides your browser. Good!
Yeah, I have a crappy little mp3 player that uses SD cards. I use it to listen to Songfights in my car, as well as some albums I don't want to waste a whole CD burning. Your song played fine on that.

I use Linux, and as such I use three programs for listening to music. 99% of the time, I use the default iTunes clone called Rhythmbox. This wouldn't play your song, so I used the default movie plater, called Totem. That didn't work either, so I tried VLC. That also didn't work. I clicked on your song from the browser, and it loaded up properly, which is weird because most songs don't play properly in my browser.

*shrug*

I'll let you know if I have this problem with other tracks of yours.
BTW, Jon, I owe you a debt of gratitude for linking to that Angry Video Game Nerd Superman review. I ended up watching all the AVGN episodes, and they brightened up an otherwise dreary week.
Glad you enjoyed them. Sometimes I think his obscenity is a little over the top, but his sense of comedic timing is spot-on, and these videos often serve as little history lessons, which is awesome. I'm a huge video game geek, born in 1985 (some of my earliest memories involve learning to play Super Mario on the NES), and AVGN managed to teach me a lot I never knew before.
"Warren Zevon would be proud." -Reve Mosquito

Stages, an album of about dealing with loss, anxiety, and grieving a difficult year, now available on Bandcamp and all streaming platforms! https://jonporobil.bandcamp.com/album/stages
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jast
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by jast »

Generic wrote:That didn't work either, so I tried VLC.
Works for me. I hardly use anything but mplayer and VLC these days, really.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by jast »

Okay, that took a bit longer than usual. Sorry.

Abominominous -- Not to my taste but the mix is great in that it lets everything breathe (the vocals are a bit overpowered by the rest at times but that's all). I suppose the performance is pretty good, too, and there's quite a bit variation in the composition so it's definitely not boring. I don't find the overall song very cohesive, that's perhaps the other side of the coin.

Adam Adamant -- I like the overdrive added to the drum kit (which, by the way, sounds rather mechanic, a hint of variation might have been nice) but adding it to everything else too (at least it sounds like that) is perhaps a bit much. Particularly the vocals could have done without that, I think. I like the composition and a bit more melodical development in that might have been even nicer. As it is, there is enough buildup in the arrangement to keep it interesting.

The Anarcheologists -- Ease up on the compression! It really hurts the rhythm guitars. I find the crashes too dominant when compared to the guitars. Actually, same goes for the rides. The mix of guitars and sawtooth synths is pretty cool. I absolutely love your chorus. The arpeggio'd solo guitar playing feels a bit out of place; it's a lot better when more instruments kick in (though it's still a rather extreme change from what the song was like before, especially harmonically). Oh, and that part is pretty long.

Berkeley Social Scene -- That's an interesting start, I'd imagine "nyah nyah nyah" would go well with that. Lead vocals sound pretty dry (not much of a low end, is there?). Lovely backup vocals, great overall arrangement. Female lead vocals make for a nice break. No negative comments, sorry.

Cabin Fever -- Now this actually sounds elegiac! Or at least wistful. Great singing, enjoyable composition. I'm not sure if the reversed track adds to this or takes away from it. Generally the arrangement definitely works to help set the mood. I notice lots of small details. That's stuff I'm not so good at, so perhaps I'm a bit envious.

The Chadderandom Abyss -- You know, I think this is missing a bit of sparkle. I wonder if a few more vocally forceful passages might have helped. Neither the composition nor the arrangement are boring but it all sounds a bit dull sonically. The end is pretty sudden.

Charcoal -- Do I hear weird time signatures? Do I hear a really long intro? Does it sound thin? Is any actual song going to start any time soon? Nice to have running in the background, I guess, and interesting composition.

coder_lyte() -- Another long intro, but not actually too long (the way the two piano parts go against each other screams "programmed" to me, though). Nice arrangement. The melody is a bit repetitive. Otherwise I enjoyed this one. I like how some parts are slightly detuned.

deetak -- I can't say I like the effect on the choir. Otherwise this might have sounded great, now it frankly sounds ridiculous. I'd be inclined to think this is a last-minute mixing mistake. What's the story? Anyway, cool composition. Be hearing you, I hope!

DuToVa -- I'm still not a fan of chorusy effects on vocals. There's something weird about the first couple of notes of the lead melody (I think it clashes with the guitar part that goes with it, just a bit). Anyway, this doesn't fail to entertain. The chorusy sawtoothy synth is a nice touch, as is the one that has tons of vibrato.

Electric Needle Room -- This feels like those parts of the 80's that I don't really like. Tough luck, that. The musical idea is nice if a bit drawn out, the singing is okay (a bit weak in places and large parts of the backup vocals seems to have been rather rigidly tied in a third above or below the lead melody). Still, I could listen to this again, so it's not really bad or anything. Nice arrangement.

Heine -- The extremely noisy part of your, uh, "drum kit" -- a spray nozzle, perhaps? -- that comes in every four measures is hard to get used to. At least sonically. Technically it could be really fitting, what do I know. A bit long-winded, this one. The arrangement, except for the "drums", feels a bit generic, though it's executed really well. In summary: feels nice but doesn't go on the playlist.

Howl Down the Chimney with Jan Krueger -- Okay, I'm really biased here. As you may have noticed, I contributed the chorus vocals and lots of backup vocals. During the making of this song I listened to it often enough to no longer be objective about it. I'll just skip the part about how much I love the arrangement and the vocals and the mood and the melody, and mention that perhaps it would have been nice to make this a bit shorter (I'm not really sure about that, though).

Jan Krueger -- I had to write this one while the HDTC song was stuck in my head. I tried to cope by doing something completely different. This one has a somewhat simpler structure than most of my other songs, made up for by an elaborate and thematically fitting outro.

Jim Tyrrell -- Somewhat unusual vocal mix. Less high pass filtering next time? Great chords. Great vocals. I love this. Suggestion: more stereo.

John Kloberdanz -- I think this has too much reverb. Doesn't really fit the style. Vocals sound strained (and occasionally too hot) but so what, it fits this song. Good length. I like this, please stick around.

Jonathan Mann -- Trying something new? Good on you! Drums are a bit too dominant in some places for my taste. Nice arrangement, vocals etc. Nice doubled vocals in particular. I'm not too fond of the spoken part. Nice to listen to but lacking rememberability.

Jon Eric -- Whew, I've got lots of suggestions, sorry if this sounds negative. First off, consider pulling the backup vocals (e.g. on "millions") down a little bit, they almost sound louder than the lead vocals. Personally I think the snare is a tad too dominant in the parts where the arrangement is less dense. Are those backup vocals in the chorus three-part? If so, the bottom notes are hard to make out, perhaps raise them a bit in the mix. The arrangement sounds thin in places, perhaps raise the rhythm guitar too. Now. I like the song, honestly. Those are just things that might make it rock even more. I expect more songs coming up!

MC Thaddeus Gunderstank -- Err... no.

noah mclaughlin -- the lead vocals sound as if you're freezing. So, yeah, clipping (especially in the places where the vocals are low pass filtered), you already noticed that yourself. I like the sound. I guess that means points in the arrangement and mixing departments. The faked choir isn't really all that convincing. I like everything else, though. Lots of nice touches.

Paco del Stinko -- Nice intro! Do I hear fluctuating timing in the guitar intro? Anyway. I love the beginning (repeating the "it was all a lie" seems like it wasn't the best thing to do, but I've got no alternative ideas). The overall song isn't made of the stuff I like but the arrangement is pretty cool, e.g. great places to kick in crunchy guitars.

Quimby -- The occasional bit is out of tune (sometimes in ways that add character, sometimes too much), other people have already pointed that out. Great singing. Wonderful roomy mix, even if slightly favouring the left channel. Great song, definitely sounds wistful too. I would have loved if the arrangement had built up to become fuller.

Raised By Wolves -- The bass synth sounds hectic. In fact, do some of the other synths sound loopy too? In fact at least the paddier (yeah, I made that word up) synth definitely benefits from that but I don't think the others do. Otherwise great overall synth sound. Perfect change when the drums kick in. The almost drumless section is weird in that the drums seem to keep reappearing for no reason at all. Why not just mix them in the back and have them gradually disappear or something? Nice unrushed ending.

Rone Rivendale -- There's a pretty good song hidden in this. The different arrangement of the various sections (and the overall structure in the first place) does make a lot of sense, for example. I think real performance training is required to bring the song out. It would be extremely awesome to see you progress on that front, especially since I tend to believe in your songs.

Ross Durand -- The vocal performance is tops. Nice change from the kinds of arrangements I know from you/. Slight clipping. This is a true elegy, even if does sound too, I don't know, energetic. Reminds me of Procol Harum in several ways. Great job!

Slats -- Vocals sound a bit distant. I think I like this better than your previous songs. Nice section changes. I don't really love the composition but something about it makes it hard for me to ignore it.

Steve Durand -- When the percussion sets in it sounds out of place. It does start to blend well after that, though. This is a lot of fun to listen to but I don't see the title in it.

Todd McHatton -- The more I listen to your mixes the more I find them suffocating. Trying to make a picture, I'd say that everything in the mix is closing in on the vocals sitting in the middle, so the vocals expand and squeeze between the cracks, making the overall thing sound like it's about to burst. I'd like to encourage you to experiment with mixing things differently, perhaps just for the fun of it. Also, plosives, eww! Anyway, the song... I like it. Nice piano.

The Weakest Suit -- That much distance on the vocals? Hmm. Uneven mix (the hard right guitar is fatiguing on headphones). Nice buildup. Fun composition. Enjoyable.

Votes will be spent on Cabin Fever, Howl Down The Chimney, Jim Tyrrell, Quimby, Ross Durand. I think I'm not going to vote for myself for a change.
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coder_lyte()
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by coder_lyte() »

Generic wrote: Here's a bit of Fridge Logic: In coder_lyte()'s entry, how come he'll "never play those games again"? Even if Atari had gone belly-up and the home console industry had bombed, he'd still have the games he already bought, right?
Sure I could, it doesn't mean I would. In addition to the industry failing, it's also about me growing up and discarding those games I played when I was young. Couple that with one of the main causes of the crash being a lot of really terrible games, and people's disillusionment with them in general. I did own a copy of E.T. for 2600 and it was the worst game I've ever played.
Generic wrote: While we're talking about coder_lyte()'s entry: do you know where the name Atari came from? In the game of Go, you're in Atari if one of your clusters of pieces is threatened. Somewhat like being in check. It seems like there's the potential for some wordplay, if you're looking to revise your lyrics.
I used to love go, though I would have gone with kakari or keima. Atari in general means hit or success, which is ironic. that could be useful.
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coder_lyte()
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by coder_lyte() »

Heine wrote: Hi coder,
last weeks I spent some times checking out the song fight forum. I finally found the lyric archive and the introduction to new players...
...and the "Free Plug Ins" site http://songfight.net/forums/viewtopic.p ... &sk=t&sd=a. There are some really fine links.
I downloaded Guitar Suite http://www.simulanalog.org/guitarsuite.htm. Simulating a Marshall Amp and some Boss Overdrives, simple to use (as VSt plug ins). It is so cool, I'll be using it for the next "Love Me..." entry.
Thanks for the link. I actually bought a Boss OS-2 a few days ago though, heh. I hadn't tried that plug in though. Does it sound close to the real thing?
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by BabylonHoruv »

ok, it looks like it gave it to me alphabetically.

Abominominous, the production values are good, but I don't much like the composition. The way the vocals are overlapped is confusing, the words are hard to understand because of the way they are delivered, and there are so many change ups that it sounds like 5 different songs being played one after the other (or sometimes at the same time)

Adam Adamant, production values aren't so good, there's a lot of fuzziness, but I enjoy the over all song. Adam has a nice voice and I can understand what he is saying and appreciate the poetry in his lyrics. The bass line is nice, I wouldn't mind a little more complexity in the higher registers. The chorus sounds a little preachy.

The Anarchaeologists, well done, has a nice punk sound. the switch between hard and soft keeps the song engaging. The only criticism I can offer is that it feels a tiny bit over long.

Berkeley Social Scene, I like the way the female and male vocals work together. The bridge is probably my favorite part of the song.

Cabin Fever, I like the instrumental part of the song. The vocal delivery, although quite skillful, doesn't seem to match the instrumentation to me.

The Chadderandom Abyss, garbage, so far as I can tell. And not related to the title.

Charcoal, Very nice drums, The rest is not bad at all either, I would like some vocals though. It sounds incomplete to me.

Coderlyte, Very nice, the instrumentation is complex, the vocals are well delivered with a melancholy sound. The topic for the lyrics is an interesting twist.

Deetak, Interesting vocal harmonics. I can't understand a word of it but it is fun to listen to. It feels like it plays background to the instruments which are not as interesting however.

Dutova, The song starts with a promising sound, but it doesn't feel like it follows through, the vocals drown out the instruments and sound kind of like a poor imitation of sisters of mercy.

Electric Needle Room, This song feels a little overly synthetic for the (relatively) unmodified vocals. I can hear what they are going for with the lyrics, but it isn't a twist that works for me.

Heine, the use of industrial machinery is nice. (and if you have those samples you used and are willing to share I'd love you for it) The singing is well delivered and the fairly minimal use of synths and bass compliments the machinery and vocals well. This sounds a bit like a cross between Pink Floyd and Kraftwerk to me, which is a nice sound. This is probably my favorite song out of the bunch. The acoustic guitar for the chorus is not only a nice contrast but it (obviously) underscores the vocal theme well. Usually four minutes feels a bit long to me, but on this song it does not.

Howl down the chimney, nice lyrics well delivered. The vocal harmonies that kick in are beautiful. This song has a definite feel of an Elegy. The finger picking that comes in about 2:45 is also very nice (could be a mandolin, I am not sure, but it's pretty) This song I may not like quite as much as the Heine one, but that's only because the heine one is so very very good, This one is also outstanding.

Jan Krueger (apparently without Howl down the chimney this time) pretty vocals and guitar but the rather cheerful lyrics don't match the minor key the song is written in. It's hard not to vote for this song, because it is good, but sad sounding songs with happy lyrics are kind of a pet peeve of mine, so I refuse.

Jim Tyrell, production feels off, as if it has not been compressed. The execution is nice, the vocals as well, jazzy and swinging.

John Kloberdanz, political folk sound, some recording issues with the vocals. The lyrics are fairly poetic.

Jonathan Mann, nicely textured instrumentation. The vocals fit in well. The lyrics don't make an awful lot of sense, but they are fun.

Jon Eric, this feels like it could use more guitar. There is some rhythmic slippage between the drums and the vocals and guitar.

Mc Thaddeus Gunderstank, this one doesn't really make any sense. it's funny, but not exactly hilarious.

Noah Mclaughlin, nice vocal harmonics, the instrumental build up is nicely done. Of those who actually sing here Noah's voice is probably the worst (not that it is bad, just not as good as the others) but he uses it well and he has enough going on that the lack of a perfect voice doesn't really detract from the song.

Paco Del Stinko, angry, engaging, interesting voice. The electric guitar solo feels a bit forced.

Quimby, beautiful voice. The instrumentation backs her up well and the mix is done to favor the vocals, as it should when the vocals sound this good.

Raised by wolves, starts a bit slow. the song feels a bit too empty to me. Then suddenly too full.

Rone Rivendale, really poorly done, the guitar and voice do not go together.

Ross Durand, the vocals feel like they are mixed a little too high. The song in general is enjoyable, sad and evocative.

Slats, the instrumentation is nice but the vocals sound off, as if there is a tiny delay between the two speakers. it makes it hard to listen to them. They could also use mixing a bit higher.

Steve Durand, nice interplay between piano and horn. This song feels quite complete without vocals. A bit like a dance, or battle, of robots.

Todd McHatton the vocals are mixed too ow (or the instruments too high) which makes it impossible to understand what he is saying.

The weakest suit, the general sound is a bit muddy. the lyrics are fun, the instrumentation is well delivered, there is just something wrong in the recording or production.
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Teplin
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Teplin »

Hey BH, welcome to Songfight!
BabylonHoruv wrote:
Howl down the chimney... The finger picking that comes in about 2:45 is also very nice (could be a mandolin, I am not sure, but it's pretty)
The acoustic stringed instrument sound throughout the song, including the solo, is made by a ukulele, unprocessed except for the reverb. It's really interesting, because people don't tend to recognize it as a ukulele in this song, and my theory is that we're used to hearing the ukulele in a certain context. A ukulele plays happy little songs, not sorrowful elegies, so if we hear it in a sorrowful elegy it's much harder to recognize. Well, it's interesting to me anyway. Thanks for the review!
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by jast »

BabylonHoruv wrote:Jan Krueger [...] pretty vocals and guitar but the rather cheerful lyrics don't match the minor key the song is written in.
It's actually in C major, but thanks for the review anyway. :) Thanks to everyone else who reviewed, too.
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Chadderandom
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Chadderandom »

I wrote most of this in the first couple days the songs were posted, so some of the things have been covered and responded to, so I just added a little extra note. I was going to try to arrange the reviews in order but couldn't really figure out how to do that, since a couple of them feel like they should be first and a couple feel like they should be last and then I thought maybe I could put the songs into three categories, like 1st place, 2nd place and 3rd place but I don't know what that would mean, since I never remember to vote and it just felt too complicated anyway, so I'm just going to post them in alphabetical order, not that anyone really cares.

Abominominous - Feels familiar, feels badass, felt like it needed something more before the "all I want to see... SACRIFICE..." part where it gave what it needed and thus, one would think that it doesn't need anything but it would be nice if I could make out more words. Also maybe its long. But I can't figure out if its too long because there are some parts where for a couple seconds it feels like it should end but it keeps pulling me back in. So I could go either way on the length. Post-Video: Song is the perfect length.

Adam Adamant - Is the buried vocal supposed to be that buried? Actually, that sounds more than just buried, that sounds muddy. The fact that its there consistantly makes me believe that its intentional and when the vocals are gone, I don't think I like the instruments either, possibly due to the effects on those too. If thats effect and not accident. Actually, the flanging, I like. Maybe its the tone? Maybe its just the instruments. I think theres some Saw Lead, which I apparently only like when surrounded by happy, shiny guitars and no mud. With every listen, I hate more and more.

The Anarcheologists - I was thinking Ross Geller when I saw the name and then it strangely sounded like it could've been the Friends theme when it started... and then the vocals started and, yeah, I don't know about any of this. I like when it turns into an entirely different song on the bridge... possibly due to the fact that there's no vocals anywhere. And then the vocals come back and I still like the new song. This part is pretty long. Wait, its the ending? The first part when it tried to rock wasn't very good but that second song was kind of awesome. Oh, hey, on second listen, the second song comes in when the trying to rock parts happening too, why couldn't the whole song be like the non-rock parts? Archeologists should stick to whats under the rocks, no more anarchy with rocks.

Berkeley Social Scene - Holy crap, the vocals are, like, in the right place in the mix and sound really good. And the music too. And everything is, like, working. And I like the other vocal that comes in. And this whole song is really good. On second listen, this song is really good. Really good like a song I'd hear on the radio or TV and make note to look up the lyrics later, to find out who they are and then forget about it. And if I heard them a third time, like just now, I'd definitely remember to look them up later, because they sound better after each listen but in a way that makes you start underrating them immediately and makes you say things like this is really good when its actually kind of awesome.

Cabin Fever - Unlike last fight, I can't make out much of the words and it doesn't help anything because everything here is done in such an almost sensitive way, the feelings emoted almost make you want to cringe. But nothing reaches a point where you actually want to cringe. So the lack of any real negatives or positives kind of just make you tune out and let it drift into the background. And it sounds cool in the background.

The Chadderandom Abyss - Lyrics were popping into my head and I was like I can't do any of that but since more and more lyrics were coming to me, I started thinking of more and more ways I could do it. And I remembered a time when I was about 15ish, when the song "Runaway Train" was everywhere, and I would turn popular songs into dirty songs and I turned that one into "Runaway dick in the sack, going the wrong way up her crack" well, one of my friends dads heard it and thought it was hilarious, so one time when I was over at their house, he wanted me to play the song for his drunken friends and they loved it but they were trying to get me to make up other songs and they were "helping" me with backup vocals and other weird things like their own freestyling and I'd been around rowdy drunks all my life but this bunch was the creepiest and the yeahs and mmmhmm was totally inspired by one guy who took the creepout level a little too high.

Also partial inspiration comes from being reminded, by the dugout doodlebugs song (which was also an inspiration itself), of the Bloodhound Gangs "Hooray for Boobies" album, which was almost like a compilation of all the horrible, immature things I did musically when I was a teenager and thus awesome, and specific in this song, the high pitched voice on the chorus was an attempt to create the pacman voice from the song "Mope" and theres a reference to "The Ballad of Chasey Lain" who I couldn't pick out of a lineup, by the way, because I know nothing about pornstars, I prefer my porn to be as anonymous as possible because the less human they are, the less creeped out I am by the possibility they might be actual people, the original line after that reference was "Back in the 70s" and I looked Chasey Lain up on imdb and she apparently didn't start making films until the 90s, so I changed it to "back in the day" in case someone who'd know connected those two lines and might've gotten hung up on it. Because I apparently picture an expert porn aficionado out there judging my lack of correctness in my lyrics and I want to appeal to this person because this song is for them. As well as upset aliens.

And the aliens, to me, are too absurdist satire to be racist but probably are. Though, seriously, space aliens speaking in broken english, hillllllaaaarrrrrrious. Although they were originally going to sound like big scary russians and I was trying to make a Yakov Smirnoff "Back on old planet" joke where it would've been the opposite of what he does, with the porn on his planet being better but that didn't make any sense because if their porn was so good why was he concerned about our porn enough to threaten to cut me if I didn't lament it along with him? Also by cut me, I was picturing Marvin the Martian with a giant light saber. Maybe the only way this song is good or funny is if you're in my head surrounded by creepy drunk dudes, aliens and pacman.

Charcoal - Is there... any vocals? I guess not. Is that supposed to be machinary in the background? The creepy part at the end made me sigh due to not really feeling anything creepy before then other than what I guess is the machinary in the background. The song is pretty upbeat to just have random creepy parts thrown in there. It sounds like the industry is fine to me and the creepy parts are when they take their breaks. How is a break supposed to be creepy? I mean, unless there are creepy dudes mmmhmm to bear porn while they're on their break but that really isn't detrimental to their industry unless, I guess, the thought of bear porn slows down production and everyone loses their job but that just seems silly.

coder_lyte() - Man, this music, cheesy and cringey. I hope there isn't any vocals in this song either because they would probably make everything worse. No, I was wrong, the vocals are okay. Or not. Or maybe they are. Not that it really matters. WTF? I had a legit hearty laugh at "two bucks at KB Toys (Wwwwhhhyyy?)" but this song is pretty non-sensical anyway. Why are you throwing these games away? Because they're $2 at KB? You probably had, like, a $900 GI Joe battlestation or whatever spoiled brats had. The more I think about it the more it annoys me. You're throwing something in the garbage because its now $2, well, I bet it wasn't $2 when your mom bought it and I hope she stuck a Pitfall cartidge up yo booty and clapped it. And with the explanation, apparently this song is trying to be too many things at once or at least just contains irrelevent lyrics, either way, poor songwriting.

deetak - I can't hear anything in this. At least not the vocals. I like vocals. Lyrics are important to me. And if there are no understandable vocals, the vocals that are there better be compelling and if there are no compelling vocals, there better be some relevent music and I'm not really getting any of this. Maybe I need more from this song because of how annoyed the last song made me but this song is as frustrating as the last song to me because it doesn't explain to me why it sounds so silly. Its like someone's doing a parody of Animal Collective doing a parody of whatever this is and maybe if I understood it better, it might be funny and if you weren't going for funny, then I really didn't get it.

DuToVa - Oooo, ominous, badass sounding music and vocals to match. I like. I can't really make out a lot of lyrics but what I can make out really, really works. Aww, man, I wasn't looking at the song playing, so I thought the song was coming back and I would've liked that and, I guess thats what you're supposed to do, leave them wanting more. On second listen, focusing intently on the lyrics, I made everything out and maybe I was focusing too intently on them, because I don't think I was able to follow them but it doesn't really matter because the song just works.

Electric Needle Room - The cheesy music was making me dread not taking a break from reviews after getting to a good song and then the vocals of this saved it. I'm not too big on people sharing their boring opinions of being shocked and appalled by popular music although I'm not even really sure I understand what this song is about since there isn't any real connection between the verses and maybe there is no connection beyond the honeymoon being over for each of these things. But possible disjointed lyrical ideas and cheesy music aside, the vocals are really good on this.

Heine - The beginning sounds like a train and a gun being loaded which puts me in the mind of a suicide near the tracks. And then the song starts and oh my, this is dark and depressing, and I love it. And it pulls you up into the upbeat parts too. So, this is more a roller coaster ride than a train ride. And all the sound effects of machinary still make me uneasy on the second listen. And its still the same roller coaster of awesome on the third listen.

Howl Down The Krueger - Is that just a uke at the beginning? Double tracked? I've tried effects on ukes and it never really works out. It sounds like a uke but with some weird quality that I can't quite figure out. There has to be something there accompanying it to give it that extra ominousness (though it was revealed that apparently ukuleles can be sad, so you're like a uke genius then). The backup singer makes me look around to see if I'm alone or they're here with me. I wasn't really feeling the lyrics when they were posted (though I'm not currently sure why) but I should've known that you could pull them off (not that there was anything wrong with them to begin with to need pulled off).

Jan Krueger - This is simple and straight forward but its just too... something. Happy? Although its a song about not really caring because you still have music and I guess it should be happy but, like, its a little too happy. If this song were a person, I'd have to wonder about them, because it just seems off, with the happiness and the randomly whistling and jaw harping and such, like they're trying a little too hard to distract themselves from the fact that everything is shitty like they're convincing themselves and maybe that means this song is actually genius but, man, that took way too much thought to figure out for something that seems so simple and straight forward.

Jim Tyrrell - Ya damn skippy, lets get drunk and break some things. I might need a time machine though because this song sounds kind of like it came from 73 which isn't a bad thing because I love me some 70s singer-songwriter stuff.

John Kloberdanz - Is there something wrong with the recording or is everything that I hear supposed to sound like that? I can't quite explain it but the guitar sounds like it was saved at a different bitrate than the rest of the song. And maybe the harmonica too. There are weird qualities here that I'm not really sure are supposed to be here. I guess there's nothing wrong with the actual song unless it was supposed to sound like that.

Jonathan Mann - Cute and twee-like without actually sounding too cute or too twee. Its equally silly and sad in ways that do not cause repulsion or contradiction or annoyance and its all kind of awesome. On second listen, I still think its as awesome as it was the first time. Upon third listen, I kind of love this song. On fourth listen, I do not want to listen to the rest of the songs but I guess I might as well.

Jon Eric - I really like the beat, as it makes me bob my head along, but your voice, I don't know about, it sort of reminds me of Rufus Wainwright except not as... something... enough. An obvious word would be awesome but thats not it and I don't know the specific word I'm looking for, it just doesn't work (for me and what do I know). The most compelling thing about this song though is the beat and I can't really pay attention to the lyrics long enough to really get any grasp on them. They sound kind of cool when I can pay attention to them but if there's, like, any kind of actual story there, I don't know.

MC Thaddeus Gunderstank - Machines don't have poopers. I think you should ask yourself what would Johnny 5 do. I doubt it involves raping livestock or killing children.

noah mclaughlin - Did you get some of these ideas from the Monkey Throw Feces song last fight? I wish facial expressions could translate into typed words. It sounds like if Nickelback started experimenting with their sound because they listened to a little too much Leonard Cohen Death of a Ladies' Man. Maybe if that actually happened, it would sound cool, until it happens though its all speculation, but this just feels like its trying to be something its not and should stick to being Nickelback or 7mary3 or whatever post-grunge occasional balladish song making band would work here.

Paco del Stinko - Whoa. This is too amazing to say anything about.

Quimby - Vocals and music kind of disappear into each other and the result sounds kind of cool and relaxing because its like a cloud that you're just floating on.

Raised By Wolves - The song sounds like any one of the dozens of cool indie bands with this same exact sound. Not that there's really anything wrong with that but maybe if I were in a different mood, these lyrics would work and it wouldn't matter but I can't really get past all these magical metaphors about ghost journal friends fighting bulls that must be way over my head and, so apparently, I'm too stupid for this song.

Rone Rivendale - If you can't not make that mic pop happen stop singing into your mic, hang it from the ceiling or, like, put it beside you but never, ever face it again, just project your voice louder. Or treat the mic like pool, since sound bounces off stuff, put the mic next to you and then sing at a surface that the sound would bounce off into the mic. And since you have a nasal tone to your voice, use it. Maybe some punk-pop nasal snark or something. Maybe croon falsettoly, just experiment with it because I don't think its working yet. Then again, maybe what you're doing works, its just that having an actual clear vocal track first of all would maybe make me see it. I can always see what you're going for and if successful, it would work but you need to figure out how to record the songs without the production problems.

Ross Durand - This song doesn't sound like it has the appropriate emotion, musically or vocally. Too much Neil Diamond not enough James McMurtry. The lyrics are emoted in a believable way in a couple places though. Maybe in more then a couple places but I've listened to this a few times and overall it just doesn't have the emotion needed to pull me in. I want to be pulled in and I really want to like this song but its just not working for me.

Slats - Music starts: alright, now thats what I'm talking about. Vocals start: maybe its not at all what I'm talking about. I am definitely digging the music. I can't really hear the vocals all that well. A couple lines come through clear and sound kind of cool and I'd bet I'd like this song a whole lot more if the vocals were higher in the mix because that is pretty much the only thing wrong with this song.

Steve Durand - Is that a guiro? Whatever it is, its all I care about in this song. Maybe the piano punctuation stabs, if thats a piano. And maybe briefly when the tempo picks up. But generally, when it comes to this song, I am all about the guiro. If its a guiro. Actually, on about the fourth listen, I think this whole song might be great and I just wasn't giving it a chance due to how it starts. Its not anything I'd ever listen to again but it is great and it works for the title.

Todd McHatton - I can't make out anything in this song. Everything is a gross post-produced mess of mastering issues. I think I might like the guitar groove half way through the song but, really, it was barely recognizable from the rest of the mess. The more I make out in this song, the more I realize there are lots of pieces of this that shouldn't be buried with everything. I'd get more specific but then I'd have to listen to it at least one more time to try to figure out what it is and where it is in the song and I just can't do it.

The Weakest Suit - I wasn't really feeling this song until the first set of get big fasts and then I slowly started realizing that this song was actually kind of cool and on second listen fully realized just how good this song actually was.
coder_lyte() wrote:Did you just say Donkey Show?
Hahahahahahaaa. I read that in my head like that one Green Jello song where the guy asks "Are you boys on drugs?" Which I guess happened in my song but less awesomely... man, I really wish I had the ability to sound like Green Jello. But, anyway, I'm sure you probably turned it off at that point since donkey shows were the least note-worthy thing in that song.
No Horse Town wrote:Why have an audience if you're not trying to entertain anybody?
Maybe songfight has one collective brain that can only achieve one collective thought of single-minded musicalness but maybe out there somewhere is a brain that isn't shared, maybe they'll like it and I put it out there so that they can find it and share in my crazy ass good time. I don't presume to understand anything that anyone else might enjoy because people might know better than to enjoy something, it might be against all they know is true and right, and they might hear it and be all OMG I LOVE THIS WHATS WRONG WITH ME~!~!~!one1tilde.

Its happened before, I've made plenty of really stupid songs that surely I was the only one that would enjoy them, a lot of which happened long before I even had a name with the words random or abyss in it, and there were people who actually enjoyed them, people I didn't even know. So all I can do is entertain myself and hope people come along for the ride. If they don't thats their deal.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Teplin »

Chadderandom wrote: Howl Down The Krueger - Is that just a uke at the beginning? Double tracked? I've tried effects on ukes and it never really works out. It sounds like a uke but with some weird quality that I can't quite figure out. There has to be something there accompanying it to give it that extra ominousness...
Uke. Single tracked. Reverb. The uke, the whole uke, and nothing but the uke. Although, it IS a tenor sized uke, which is slightly larger than your standard uke, so maybe that accounts for the ominossity.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by jast »

Chadderandom wrote:Jan Krueger - This is simple and straight forward but its just too... something. Happy? Although its a song about not really caring because you still have music and I guess it should be happy but, like, its a little too happy. If this song were a person, I'd have to wonder about them, because it just seems off, with the happiness and the randomly whistling and jaw harping and such, like they're trying a little too hard to distract themselves from the fact that everything is shitty like they're convincing themselves
I must admit I haven't quite figured it out myself. One thing that comes to mind is that the guy in the song is forcing himself to be happy just to show everybody how much he wins at life. On the other hand, perhaps you're right that he's just distracting himself. I do feel like optimism, though, so I prefer to think he's just found a way to deal with even the worst crises. His coping mechanism may be a bit over the top but as long as it works for him, I'm happy for him.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Heine »

coder_lyte() wrote:Thanks for the link. I actually bought a Boss OS-2 a few days ago though, heh. I hadn't tried that plug in though. Does it sound close to the real thing?
Well, I don't know exactly. But the plug ins sound pretty much like a friend's Marshall amplification with his Boss effect. You'll be hearing it next week.
Paco asked me to give a little Scorpions sting. And the sound's not too far from that. Maybe not quite Scorps, but at least Scolopender. :D
BabylonHoruv wrote:Heine, the use of industrial machinery is nice. (and if you have those samples you used and are willing to share I'd love you for it)
Thanks a lot. I'm glad you like the song. Yes, willing to share. I got the samples from a german page called hoerspielbox (translation: radio play box). There are also lots of other fine samples. They are free to use in a non-commercial way. Well, I cut the samples to fit for this song. If you want to have the cut pieces please send me a PM.
www.heine-musik.de - Stark autark! - Keller Kollektiv - Vince Link - "Paragon of Teutonic Gloominess" - Elaine DiMasi
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by glennny »

Slats,

you had me at the King Crimson reference! I've been thinking about "Industry" all fight long. I was quite tickled to hear your allusion to it. And then you delivered a pretty killer song!

I hope to get reviews written this weekend, but I had to give the shout out as I listen to this GREAT fight!
Phillipso, Older Brothers, Semolina Pilchards, Zipline , Thank Glennny for the Frisbee, The Odoriferous Valley, The Worldly Self Assurance, Berkeley Social Scene, Very Gentle Knives, Daddy Bop Swing Set, GUNS, The Kraken Lives, Cavedwellers
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by slats »

Hey Glenny, thanks a lot! I really appreciate it. This is a great fight. I should try to get some reviews up, too. I'm at work with some pretty crappy speakers right now - so this probably isn't the time.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by coder_lyte() »

Chadderandom wrote: coder_lyte() - Man, this music, cheesy and cringey. I hope there isn't any vocals in this song either because they would probably make everything worse. No, I was wrong, the vocals are okay. Or not. Or maybe they are. Not that it really matters. WTF? I had a legit hearty laugh at "two bucks at KB Toys (Wwwwhhhyyy?)" but this song is pretty non-sensical anyway. Why are you throwing these games away? Because they're $2 at KB? You probably had, like, a $900 GI Joe battlestation or whatever spoiled brats had. The more I think about it the more it annoys me. You're throwing something in the garbage because its now $2, well, I bet it wasn't $2 when your mom bought it and I hope she stuck a Pitfall cartidge up yo booty and clapped it. And with the explanation, apparently this song is trying to be too many things at once or at least just contains irrelevent lyrics, either way, poor songwriting.
I didn't actually throw any of my games away. I think I pawned them at some point. And it wasn't that they were 2$ that stopped playing them. That's actually the time period when I bought those games because they were so cheap. The song's not 100% accurate to my own childhood. Like I said earlier, me not playing the games was just part of growing up, but I'm trying to make it analogous to the video game market crash. It may not be a great song, but I've yet to hear anything from you that even closely resembles music.
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Ross »

I wrote these reviews over several nights -the amount and quality of feedback may vary.

Abominominous - kind all over the place - lots of really cool ideas and good playing and all - but for me, I just couldn’t hear the glue.

Adam - kinda boring - not quite sure how it’s an elegy.

Anarcheaologists - I think the structure works well - some good rhythmic work - the second half might be a smidge long, but still works overall nice job.

Berkeley Social Scene - pretty catchy - nicely arranged and played.

Cabin Fever - very elegiac.

Chadderandom - too much “experimental,” not enough music. I like experimental music, but I’m not sure this is either.

Charcoal - boring but I think I can hear title intent a little. I am a little of lyric snob.

Coder - the stereo split piano really distracted me. Title take is interesting - and yet didn’t quite work for me.

Deetak - pretty ambitious - great piano part, I wish there was more harmony . I also find some weaknesses in the pattern of cadences in the opening and closing. SOrry the performance couldn’t reflect your intent better. PM me if you are interested in a more detailed review.

DuToVa - cool Cure-ish guitar sounds - it pushes a positive genre bias for me. then it gets a little boring. cool sound, un-engaging song. “Later on, labor on” is a nice turn.

Electric Needle Room - more quasi-80s sounds. I like the honeymoon line - but I think it comes about 15 times too many - this suffers from some repetitiveness issues.

Heine - some cool stuff here, the percussion gets a little overbearing, but I like the idea. Some interesting ideas in the lyrics, too. but something doesn’t quite hold it all together. Thematically this somehow reminds me of the opening of Muswell Hillbillies by the Kinks - 20th century man - then an homage to times gone by.

Howl down the chimney - excellent - fires on all cylinders in that ukelele way. Your voice is enviable, a great blend of everyman and virtuoso. If I had only one vote this week it would likely go here. the one complaint might be length. Lyrics, music, arrangement. Damn.

Jan Krueger - hmm, not sure you had to squeeze “unsustainable” in there. “music is here to stay” - kinda comes out of left field. Your vocal work as always is great. A touch of CSN. is that a real jews harp? Pretty nice, but the theme throws me a little.

Jim Tyrell - I like the ambiance of this - nice chord extensions and such - do you ever listen to John Gorka? This reminds me of him a lot. The content doesn’t engage me much for some reason - maybe it’s because I’m from California :-) The progressions and such got a little monotonous, probably a product of the progression being shared by the chorus and verse. Excellent backing vocals. Sidenote: I look forward to the day you can mic your guitar for your recordings.

john K - I like how this hearkens structurally to the old union songs and such of the 30’s through Seeger (it was cool seeing him at the Lincoln memorial last Sunday). I think the “Stupid boss” part actually keeps it far out of that league for me. It seems to me that the best of songs in that idiom hit at the complexity, including understanding the boss’ position in a sardoni/ironic way.

jonathan Mann - I love the opening of this the whole personification stuff and all that - and somehow you lose me on the way - I think it is the chorus and the spoken word bit. “for the coast” seems lifted, but it might just be because I am a dylan fan. the arrangement is nice, but the mix has an edge on it.

Jon Eric - you’re right about the snare - but what about the song? I wish you delivered this straighter, somehow it comes off like a number from a John Waters musical. some good word play. But a little frantic sounding. Is it an elegy? hmm.

MC Thaddeus - I don’t like this and don’t see how it’s an elegy for industry. I didn’t hear the whole thing - you can co-miserate with Rone

Noah - Interesting arrangement. The lyrics don’t do much for me.

Paco Del Stinko - Perhaps this is a prejudice, but this seems unusually serious for you. I like it though. Some day you’re giving me a guitar lesson/jamming together. I like this a lot, the playing/arrangement/poetry all work for me. ooh ant the bridge the lyrics got a little stilted and cliche. the structure of the ending is a little odd.

Quimby - Genre bias - not into the modern chanteuse movement. Very pretty song, and I like the accordian as a choice. AccENT on the wrong syLAble (inDUStry). this song is fine - I wish the arrangement varied more say from verse one to verse two, etc... You’re a good singer :-)

Raised by Wolves - It’s the Final Countdown!!!!! Very catchy, some interesting word play in the chorus. I like this, but it doesn’t quite go “Bam.” In the top tier, though.

Rone - I listened to the whole thing - next time I’ll stop after the first minute.

Slats - wow - fat sound :-) you lose me at species/feces. too bad because there are many redeeming qualities to this song, but none quite save it from what I hear as trite lyrics. nice guitar solo. hookey chorus.

Steve Durand - nice composition. I hear the title, although I do prefer lyrics. There’s a hinky section in there when the clarinet comes in that threw me for a second. cool bell tones. nice work.

Todd McHatton - ahhh - fresh air - thick, but fresh. Honestly having trouble making out some of the lyrics. nice arrangement. ended up seeming long without being able to access the words better.

Clubs - whoah - not a solo-acoustic number. you got a few minutes this week. This sounds lot like some early camper van beethoven demo (a favorite band of mine). One of your best in a long time. I enjoyed this. The writing and arrangement worked very well together.

Very listenable fight - not sure who I am voting for yet - I need to revisit for who the standouts were.
"I don't like this song, but at least it's good." - veGetar Ianra Ge
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Henrietta »

Ross wrote: Quimby - Genre bias - not into the modern chanteuse movement.
I've gotten this review from you once before, and I still don't quite understand what you mean. Lady lounge singer-y?
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by rone rivendale »

Ross wrote: Rone - I listened to the whole thing - next time I’ll stop after the first minute.
Nooo, don't go to the dark side Ross! Come back to the light! :D
From spoken word to actual singing, I can screw up any style with style. :D
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Re: Sad, Somber, Strange, Mysterious(Elegy for Industry Reviews)

Post by Ross »

Henrietta wrote:
Ross wrote: Quimby - Genre bias - not into the modern chanteuse movement.
I've gotten this review from you once before, and I still don't quite understand what you mean. Lady lounge singer-y?
Well, at least I'm consistent :-)

Yes, the female smooth voiced jazzy pop music of late. Norah Jones and those who followed after her breakthrough. TO be fair I'm not really into the male equivalent either.
"I don't like this song, but at least it's good." - veGetar Ianra Ge
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