ST23 Round 3 Challenge
Here's a modest proposal: While the judges finalize their Round 2 rankings and reviews, why don't you get a head start on your Round 3 entries?
Read on for your Round 3 challenge:
Listen Between the Lines: Write and record a song from the point of view of a fictional or fictionalized narrator. Use your song to convey some knowledge, opinion, or perspective that you, the songwriter, possess, but your narrator does not.
Examples:
"Love Me, I'm a Liberal" by Phil Ochs - The songwriter, a leftist, wants us to recognize his narrator, an establishment liberal, as a selfish, hypocritical coward.
"The Babysitter's Here" by Dar Williams - We are meant to recognize that the babysitter's boyfriend is a jerk, despite the narrator (a young child) being too innocent to realize it, and even fantasizing about having a relationship like theirs someday.
"Why We Build the Wall" from Hadestown - Hades, the character singing this song, is presenting his subjects with an argument that, in its circular structure, is rhetorically compelling but logically faulty. We're supposed to recognize that his argument is both convincing and wrong.
"Can't Keep Johnny Down" by They Might Be Giants - Johnny (the narrator) is sure that everyone is out to get him, but the specific examples he provides range from someone just trying to help (a fellow driving pointing out that his gas cap is unscrewed) to someone who doesn't know he exists (an astronaut who's been on the moon). We're supposed to recognize that Johnny's view of a world full of enemies is a paranoid fantasy.
"I Want to Get Married" by Nellie McKay - The songwriter critiques the Cult of Domesticity by having the narrator espouse her desire for it.
"The Hymn of Acxiom" by Vienna Teng - The songwriter critiques Big Data surveillance and advertising by making her narrator a database celebrating its power to control consumers and shape their desires.
Submitting Entries:
Your entry must be received by Sunday, October 6, 2024 @ 11:59 PM EDT. Otherwise it'll be posted as a shadow. Received means that it has to appear in my e-mail inbox (spintunescontest@gmail.com) by the given deadline. I will be going by the time stamp on the e-mail. One minute late is too late.
You are allowed and encouraged to submit a draft of your song early just in case something horrible happens and you miss the deadline. Then you can add polish to your song and send in a better version closer to the deadline. The last version received prior to the deadline is your official entry.
Lyrics are mandatory. No instrumentals. Having no lyrics will get you disqualified.
SUBMITTING BY EMAIL: Send your file in a format that BandCamp accepts. (.wav or .flac) (at least 16-bit/44.1kHz) Do not send MP3s.
Name your file the song's title + your band name, without punctuation.
The subject line of the e-mail should identify the challenge and your band's name. Something like this would be fine: "ST23R3 - All the Robots".
Include the song lyrics in the body of the e-mail.
Include information on anyone that needs credited if you collaborated with someone.
ALTERNATE FILE SHARING OPTIONS: If your file is too big for an email attachment, you may email me a link to where I can download the song. The email still needs to land in my inbox by the deadline.
If you have a Bandcamp account you can just send me a link to your song if you include all the info I mentioned for emails. Info such as lyrics and song credits can be included in the email or on the song's Bandcamp page. Make sure you have it set as a free download, and have it set so that I don't have to put in an e-mail to download it if you pick this option.
You may also use a file sharing service such as DropBox, WeTransfer, Google Drive, etc. Include in the email any required information (such as lyrics) that you couldn't include in the file. Make sure I have permission to download the file, and please follow directions so your file doesn't wind up in my spam or trash folder accidentally.
SONG BIOS: In addition to lyrics and any necessary credits, you are welcome to include a "song bio", with any information you feel is useful. This could include your inspiration for the song, citations for any obscure references within the lyrics, an explanation of how your song met the challenge, etc. Some challenges may require you to supply certain info in your song bio. Since the judges are volunteers with lives outside of SpinTunes, song bios can help them zero in on aspects of the song you feel are important. However, if your song requires a multi-paragraph explanation in order to understand and appreciate it, this is probably a sign that it doesn't stand up well on its own, and its ranking may reflect that.
Side Notes:
You can send in an entry to SpinTunes 23 without competing. Just tell me it's a "Shadow Song". It will be played at the listening party, but won't be ranked and you might not receive feedback from the judges. Check the FAQ if you don't know what that means. You can even complete past challenges from previous contests. It's a nice way of playing along if you can't commit to the schedule or you just want to get your feet wet.
The only other way to get your music played at the listening party is to cover "Today's The Day" by Inverse T. Clown or "Right Again" by Mandibles.
ST23 Round 3 Challenge 'Listen Between the Lines'
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the panna cotta army
- Alpaca
- Posts: 229
- Joined: Sun Mar 20, 2011 11:35 am
- Instruments: egg shaker
- Recording Method: Studio One/Mac
- Submitting as: the pannacotta army
- Pronouns: He he he
- Location: UK
Re: ST23 Round 3 Challenge 'Listen Between the Lines'
I’m not sure how many of these songs, standing on their own, are self-explanatory in term of the challenge brief. I think the majority (mine included) probably rely on the accompanying notes for the listener to understand the concept. Even with the additional notes, there are still some songs whose lyrical concepts I don’t get, but I'll gladly admit that may just be my own stupidity.
Glenny - I’m gonna say this has a gothic chamber vibe despite not being sure exactly what that means in a musical context. There seems to be a fair amount of 60s psychedelic influence though. I like the chord changes, of which there are a lot, and the various modulation effects on the guitars. The reverb choice on your vocals is particularly pleasing. There seems to be some weird stream of consciousness flavour going on with the lyrics - the haiku choruses are cute. There’s a lot I like in the various elements of this but for some reason the whole is just falling a bit shy of winner material. PS - I’ve no idea what your lyrical concept is all about.
Cardimon Seed - I’m trying to place your pronunciation of house but I’m not getting it. I love the simple but effective groove and feel of the song - it’s particularly effective in the verses. It’s a clever and deft arrangement and although there’s not a huge amount of variation it doesn’t seem to matter. The interplay between piano and subtle guitar riffs is great. The brass works nicely too. Some lines sound a little awkwardly sung but all in all, I like this one a lot.
Stacking Theory - This is full of gorgeous lush sounds and the vibe is super chilled. Are those harmonies with a vocoder? They sound sweet. The excessive reverb is used to a nice effect - not unlike 10CC’s I’m Not In Love. I love the chord changes and the production is nice and clean. I think I might have done the chorus more as a call and response echo so every other “luck” had a different dynamic but that’s personal. You didn’t include much in the way of explanitory notes so I wonder if the judges will cotton on to your premise. One of my favourites of the round.
My Broken Demo Tape - I like the raw production and arrangement. There’s one or two timing hiccups but nothing that detracts from the enjoyment. Some of the lines feel a little awkward like you’re forcing them into too small a space. No surprising turns in the chord progression and I know where the vocal melody is mostly going but nevertheless, there’s a simple charm to this song that wins me over.
SpinTown & Co – I’m no aficionado of 80s metal apart from the mainstream big hits. If someone had told me this was a lesser known Bon Jovi or Guns & Roses track, I could well believe it. It’s extremely well performed and produced. I’m not really a fan of the genre so I didn’t really get a whole lot out of the song because of that, but it also seems to me almost too derivative and because of that, found it lacking some individualistic stamp. PS - Even reading your notes I couldn’t figure out what’s going on with the lyrics but then I know sweet FA about Minecraft.
The Moon Buruea (sic) – I find the pun on Copenhagen quite amusing somehow. This has your trademark jangle sound and a nice swing. You’ve nailed that 80s/90s UK guitar-band vibe capturing the essence of Johnny Marr, Stone Roses, Bluetones etc. The drums are great too – the lazy shuffle, semi stops and accented hits/crashes that follow the music are neat. And it’s all soaked in an appropriate amount of reverb to give it a nice nostalgic sound. The vocals waver a bit off note here and there but that kind of goes with the territory here. PS - Assuming I’m interpreting your lyrics correctly, I don’t get why the narrator thinks the statue is an actual mermaid.
With Joe – Pet hate when music begins right at 0.00. Leave a short silence before the music starts please…and at the end! – I think Glenny mentioned this on one of your previous songs. I like the second half more than the first. The slow start doesn’t really grab me, but when the kick drum comes in it picks up nicely. Perhaps some more percussion may have been nice when we got to the second chorus. It’s a simple arrangement but it works because your voice and the melody are good enough to carry the song. Feels like a modern pop song but I’m also I’m also getting a slight Keane vibe, neither of which are criticisms in the slightest!
Celestial Drift – This has a prog-rock meets grunge vibe. I like what you doing with the time signatures in the verses – 6/4 x2 followed by 9/4..something like that anyway. Sounds like a baritone guitar you’re using for the main riff or maybe just tuned down. The harmonics section is cool before the drums come in. The chorus is nice, there’s something a little Floyd-ish about it, although perhaps this could have been half the length it is. I’m not mad about the tone your using for the solo, it’s a little weedy sounding. The vocals are better in the latter grunge section, I find lazy delivery of the first 3 minutes a bit too affected and the line starting “The authorities….” seems to weirdly jump out in the mix.
Cavedwellers - Is the Shaking All Over riff a deliberate steal? There’s something about the chorus melody that sounds a bit familiar but it’s certainly catchy. I like the appropriation of the Beatles line. The production sounds a bit dense and mushy despite there not being much going on in the arrangement. This isn’t helped by the amount of distortion that seems to have been liberally slapped around - even on the drums? The lyrical idea is excellent - I didn’t need the explanatory note to figure what it’s all about.
The Alleviators – I love how it starts very simply with just acoustic and Beka but then there’s a beautifully measured evolution to the arrangement. The violin with the those picked out single notes on the clean electric guitar with lots of reverb. All magical stuff. I like when your vocals shift up a register. There’s a Celtic influence to the music but it’s subtle without getting too dreamy eyed. I’m glad it reverts to the simple acoustic at the close. Perfect ending. I think this is terrific stuff and probably the best song I’ve heard from you.
Sober – This just sounds like a rather generic (not to mention rather cheesy) style country song. It seems to be lacking the energy and sparkle you usually put into your very high-standard productions. I know you’ve played all the instruments here (apart from the drums which I’m guessing are programmed) but it almost sounds like one of those “Band-In-A-Box” type backing tracks where you dial in the chords and hey presto – instant backing track! It’s the same complaint I have with SpinTown & Co’s song really – it’s so derivative that it’s missing any of your personal/individual style, with the exception of your voice. The vocals are the best element of the song. PS - I didn’t understand how the lyrics relate to the challenge.
Siebass – I’m just really struggling to relate to this one. I think there’s potential for it to be a decent song in terms of the chord progression and melody but for me the arrangement doesn’t really do it much justice and there are aspects of the production don't help. The tone of the piano is kind of lacklustre - almost like a GM patch. In a song where it’s the dominant instrument it let’s the side down rather. The performance is lacking some subtlety and nuance too. I find the vocals are a bit wailing in places and I hear a fair bit of low end flub in the mix which could be eliminated with some EQing. PS - Sorry but even with your notes I couldn’t understand the concept of how the lyrics correspond to the challenge brief
If I were judging, my top 4 would be Stacking Theory, The Alleviators, Moon Bureau and Cardamon Seed
Glenny - I’m gonna say this has a gothic chamber vibe despite not being sure exactly what that means in a musical context. There seems to be a fair amount of 60s psychedelic influence though. I like the chord changes, of which there are a lot, and the various modulation effects on the guitars. The reverb choice on your vocals is particularly pleasing. There seems to be some weird stream of consciousness flavour going on with the lyrics - the haiku choruses are cute. There’s a lot I like in the various elements of this but for some reason the whole is just falling a bit shy of winner material. PS - I’ve no idea what your lyrical concept is all about.
Cardimon Seed - I’m trying to place your pronunciation of house but I’m not getting it. I love the simple but effective groove and feel of the song - it’s particularly effective in the verses. It’s a clever and deft arrangement and although there’s not a huge amount of variation it doesn’t seem to matter. The interplay between piano and subtle guitar riffs is great. The brass works nicely too. Some lines sound a little awkwardly sung but all in all, I like this one a lot.
Stacking Theory - This is full of gorgeous lush sounds and the vibe is super chilled. Are those harmonies with a vocoder? They sound sweet. The excessive reverb is used to a nice effect - not unlike 10CC’s I’m Not In Love. I love the chord changes and the production is nice and clean. I think I might have done the chorus more as a call and response echo so every other “luck” had a different dynamic but that’s personal. You didn’t include much in the way of explanitory notes so I wonder if the judges will cotton on to your premise. One of my favourites of the round.
My Broken Demo Tape - I like the raw production and arrangement. There’s one or two timing hiccups but nothing that detracts from the enjoyment. Some of the lines feel a little awkward like you’re forcing them into too small a space. No surprising turns in the chord progression and I know where the vocal melody is mostly going but nevertheless, there’s a simple charm to this song that wins me over.
SpinTown & Co – I’m no aficionado of 80s metal apart from the mainstream big hits. If someone had told me this was a lesser known Bon Jovi or Guns & Roses track, I could well believe it. It’s extremely well performed and produced. I’m not really a fan of the genre so I didn’t really get a whole lot out of the song because of that, but it also seems to me almost too derivative and because of that, found it lacking some individualistic stamp. PS - Even reading your notes I couldn’t figure out what’s going on with the lyrics but then I know sweet FA about Minecraft.
The Moon Buruea (sic) – I find the pun on Copenhagen quite amusing somehow. This has your trademark jangle sound and a nice swing. You’ve nailed that 80s/90s UK guitar-band vibe capturing the essence of Johnny Marr, Stone Roses, Bluetones etc. The drums are great too – the lazy shuffle, semi stops and accented hits/crashes that follow the music are neat. And it’s all soaked in an appropriate amount of reverb to give it a nice nostalgic sound. The vocals waver a bit off note here and there but that kind of goes with the territory here. PS - Assuming I’m interpreting your lyrics correctly, I don’t get why the narrator thinks the statue is an actual mermaid.
With Joe – Pet hate when music begins right at 0.00. Leave a short silence before the music starts please…and at the end! – I think Glenny mentioned this on one of your previous songs. I like the second half more than the first. The slow start doesn’t really grab me, but when the kick drum comes in it picks up nicely. Perhaps some more percussion may have been nice when we got to the second chorus. It’s a simple arrangement but it works because your voice and the melody are good enough to carry the song. Feels like a modern pop song but I’m also I’m also getting a slight Keane vibe, neither of which are criticisms in the slightest!
Celestial Drift – This has a prog-rock meets grunge vibe. I like what you doing with the time signatures in the verses – 6/4 x2 followed by 9/4..something like that anyway. Sounds like a baritone guitar you’re using for the main riff or maybe just tuned down. The harmonics section is cool before the drums come in. The chorus is nice, there’s something a little Floyd-ish about it, although perhaps this could have been half the length it is. I’m not mad about the tone your using for the solo, it’s a little weedy sounding. The vocals are better in the latter grunge section, I find lazy delivery of the first 3 minutes a bit too affected and the line starting “The authorities….” seems to weirdly jump out in the mix.
Cavedwellers - Is the Shaking All Over riff a deliberate steal? There’s something about the chorus melody that sounds a bit familiar but it’s certainly catchy. I like the appropriation of the Beatles line. The production sounds a bit dense and mushy despite there not being much going on in the arrangement. This isn’t helped by the amount of distortion that seems to have been liberally slapped around - even on the drums? The lyrical idea is excellent - I didn’t need the explanatory note to figure what it’s all about.
The Alleviators – I love how it starts very simply with just acoustic and Beka but then there’s a beautifully measured evolution to the arrangement. The violin with the those picked out single notes on the clean electric guitar with lots of reverb. All magical stuff. I like when your vocals shift up a register. There’s a Celtic influence to the music but it’s subtle without getting too dreamy eyed. I’m glad it reverts to the simple acoustic at the close. Perfect ending. I think this is terrific stuff and probably the best song I’ve heard from you.
Sober – This just sounds like a rather generic (not to mention rather cheesy) style country song. It seems to be lacking the energy and sparkle you usually put into your very high-standard productions. I know you’ve played all the instruments here (apart from the drums which I’m guessing are programmed) but it almost sounds like one of those “Band-In-A-Box” type backing tracks where you dial in the chords and hey presto – instant backing track! It’s the same complaint I have with SpinTown & Co’s song really – it’s so derivative that it’s missing any of your personal/individual style, with the exception of your voice. The vocals are the best element of the song. PS - I didn’t understand how the lyrics relate to the challenge.
Siebass – I’m just really struggling to relate to this one. I think there’s potential for it to be a decent song in terms of the chord progression and melody but for me the arrangement doesn’t really do it much justice and there are aspects of the production don't help. The tone of the piano is kind of lacklustre - almost like a GM patch. In a song where it’s the dominant instrument it let’s the side down rather. The performance is lacking some subtlety and nuance too. I find the vocals are a bit wailing in places and I hear a fair bit of low end flub in the mix which could be eliminated with some EQing. PS - Sorry but even with your notes I couldn’t understand the concept of how the lyrics correspond to the challenge brief
If I were judging, my top 4 would be Stacking Theory, The Alleviators, Moon Bureau and Cardamon Seed
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glennny
- DALL-E
- Posts: 2243
- Joined: Sat Mar 04, 2006 2:39 am
- Instruments: Guitar, Bass, Mandolin, Dobro, Banjo, E-Bow, Glock
- Recording Method: Garageband
- Submitting as: Berkeley Social Scene
- Location: Castro Valley, California
Re: ST23 Round 3 Challenge 'Listen Between the Lines'
ST23r3
Spin Tunes & Co.- It feels pretty Ratt with the riffs. The vocals are a little more Autograph. Sweet solo! Genre appropriate. It feels very pastiche 80’s glam metal. It becomes parody when the subject matter is Minecraft. It is funny, but does it rock? The tempo is a bit slow, there’s not much edge to it. It seems like it needs some Satanism, or debauchery, or sexual bragging. I enjoy this, it takes me back to 1986 Head Bangers Ball. The hooks aren’t really hooking me, I don’t remember the melody when it’s over.
Stacking Theory- Awesome production! I love your vocals as always. This is a nice song. I don’t get the challenge. Drums are particularly cool. This is one of my favorites of the round. Oh yeah, the perspective of a chicken. This is great! Good stuff!
The Pannacotta Army- Production is flawless. The 8th note chug is very Tom Petty. The take on the challenge is good. My favorite part of the melody is the end of the verse. I love it when you solo, it’s so tasty! This is high quality, but incredibly safe. I believe you will advance, and I’m hoping to hear Black Swan 2.
My Broken Demo Tape- Are you the same vocalist as your other entries? (Joy?) Vocals are good, I’m just confused. Everything sounds good. Maybe there’s excessive ride symbol, but that’s a nit. The energy is low. I’m not sure why I should feel the melancholy you’re selling. The lyrics and the challenge are strong. Melody is simple and familiar. This is a good album track, I don’t think it’s a single. I’m listening to your EP now, there’s a picture of two people. I suppose that answers the different vocalist voices. I think. This EP is great BTW!
The Moon Bureau- “First you look so strong, then you fade away…..” I have very positive genre bias towards this. I saw Ride back in January, I’m going to see them again in December. I think the song is too short. The challenge is fine. Your vocals stay in a very small range of notes. I keep yearning to hear some higher notes in the vocal melody. As always, super cool. I think it’s way too short.
With Joe- Now here is some amazing vocals, and a great vocal melody. This is not my genre. Piano and kick drum is not really enough orchestration for my taste. I especially want more drums: hi-hat, snare etc. The quiet range of dynamics are covered in spades. Those punches could be so much bigger. The splash of synth at 2:14 is very welcome, but I wish there were a lot more instruments to build the drama. I guess I want a full drum kit, and fuzzy bass, you know, Ben Folds Five. Good job!
Cardamom Seed- I dig this! This mellow indie jam reminds me of Beulah. There’s not a lot of dynamics in this song. It’s okay, I can noodle dance for the whole song. This is not a very big swing, it’s really safe, but it’s solid. I find it pleasant when it’s on, but I don’t miss it when it’s not.
Siebass- Vocals are great! I really enjoy how you go for it. You seem to be really inspired by DNSG, we all are, but vocally especially for you. This song is begging for some guitar. I’m a guitarist, I want to add guitar to most things. I don’t get the challenge. The vocal performance steals the show. This is enjoyable!
Alleviators- A+ on production and dynamics. I like both of your voices. I like how all of the band sounds. My big problem is the melodies don’t grab me at all. I really want some hooks. I want to lock you guys in a room with Tegan and Sara’s : The Con, I’ll let you out when you write something catchy. All the timbres are gorgeous. I want to like this a lot more than I honestly do. I’m not a big fan of the source material for this story, the drama is lost on me. It’s a bunch of murmuring about nonsense. I’d say this song is a victim of the challenge. I’d love to hear the next track live in the studio with everything dialed in like this.
Celestial Drift- Lot’s of coolness going on. Another song with a lack of melody. There sure is a lot of one note phrases. Sometimes you have to be less Tool and more Perfect Circle. I’d lock you in a room with the song “So Long and thanks for the Fish”. Let you out when you had more of a melody. That said, there’s oodles of coolness for the whole thing. I enjoy the last movement where all the hand pitchforks come out and ye doth rock. Strangely quiet guitar solo. Way too long for a competition, but the right length for the heavy song that it is. When and where does one see you play live? This would rock.
Sober- I was really hoping you were going to rhyme with news “… one of God’s favorite Jews”. Perhaps that was your intention. Executed very well. Not very imaginative. I feel like I’m watching He-Haw. Big genre bias, it makes me cringe. A+ on recording and performing, but I don’t think this challenge inspired you.
Cavedwellers- Truth is the best. I am so lucky to make music with this guy. He scatted the melody and came up with the concept. I wrote the words with those 2 things in place, which made it very easy. I had fun soloing and noise sculpting to express the impending doom of this place. I love this song.
glennny- I must say the vocals are amazing on this one. Glenn is such a pro! I gave him a complicated chord pattern with many key changes, he navigated it all with no problem. I enjoy all the Glen bits, the glennny bits are melodic and dialed in, Glinko has some tasty bits too. The Glen spirits provided some great vibes as well. The G &G music emporium gave this a solid foundation! The committee had to vote whether or not to have talk box in this one. SO there is some silence uncredited to talk box in this one. I hope you enjoy it. (And so do I). I do too. All of us really hope you enjoy it. Glenbot is indifferent.
I see Stacking Theory and Panna Cotta Army advancing. After that, it's very hard to predict. We'll see how the judges felt about it all soon.
Spin Tunes & Co.- It feels pretty Ratt with the riffs. The vocals are a little more Autograph. Sweet solo! Genre appropriate. It feels very pastiche 80’s glam metal. It becomes parody when the subject matter is Minecraft. It is funny, but does it rock? The tempo is a bit slow, there’s not much edge to it. It seems like it needs some Satanism, or debauchery, or sexual bragging. I enjoy this, it takes me back to 1986 Head Bangers Ball. The hooks aren’t really hooking me, I don’t remember the melody when it’s over.
Stacking Theory- Awesome production! I love your vocals as always. This is a nice song. I don’t get the challenge. Drums are particularly cool. This is one of my favorites of the round. Oh yeah, the perspective of a chicken. This is great! Good stuff!
The Pannacotta Army- Production is flawless. The 8th note chug is very Tom Petty. The take on the challenge is good. My favorite part of the melody is the end of the verse. I love it when you solo, it’s so tasty! This is high quality, but incredibly safe. I believe you will advance, and I’m hoping to hear Black Swan 2.
My Broken Demo Tape- Are you the same vocalist as your other entries? (Joy?) Vocals are good, I’m just confused. Everything sounds good. Maybe there’s excessive ride symbol, but that’s a nit. The energy is low. I’m not sure why I should feel the melancholy you’re selling. The lyrics and the challenge are strong. Melody is simple and familiar. This is a good album track, I don’t think it’s a single. I’m listening to your EP now, there’s a picture of two people. I suppose that answers the different vocalist voices. I think. This EP is great BTW!
The Moon Bureau- “First you look so strong, then you fade away…..” I have very positive genre bias towards this. I saw Ride back in January, I’m going to see them again in December. I think the song is too short. The challenge is fine. Your vocals stay in a very small range of notes. I keep yearning to hear some higher notes in the vocal melody. As always, super cool. I think it’s way too short.
With Joe- Now here is some amazing vocals, and a great vocal melody. This is not my genre. Piano and kick drum is not really enough orchestration for my taste. I especially want more drums: hi-hat, snare etc. The quiet range of dynamics are covered in spades. Those punches could be so much bigger. The splash of synth at 2:14 is very welcome, but I wish there were a lot more instruments to build the drama. I guess I want a full drum kit, and fuzzy bass, you know, Ben Folds Five. Good job!
Cardamom Seed- I dig this! This mellow indie jam reminds me of Beulah. There’s not a lot of dynamics in this song. It’s okay, I can noodle dance for the whole song. This is not a very big swing, it’s really safe, but it’s solid. I find it pleasant when it’s on, but I don’t miss it when it’s not.
Siebass- Vocals are great! I really enjoy how you go for it. You seem to be really inspired by DNSG, we all are, but vocally especially for you. This song is begging for some guitar. I’m a guitarist, I want to add guitar to most things. I don’t get the challenge. The vocal performance steals the show. This is enjoyable!
Alleviators- A+ on production and dynamics. I like both of your voices. I like how all of the band sounds. My big problem is the melodies don’t grab me at all. I really want some hooks. I want to lock you guys in a room with Tegan and Sara’s : The Con, I’ll let you out when you write something catchy. All the timbres are gorgeous. I want to like this a lot more than I honestly do. I’m not a big fan of the source material for this story, the drama is lost on me. It’s a bunch of murmuring about nonsense. I’d say this song is a victim of the challenge. I’d love to hear the next track live in the studio with everything dialed in like this.
Celestial Drift- Lot’s of coolness going on. Another song with a lack of melody. There sure is a lot of one note phrases. Sometimes you have to be less Tool and more Perfect Circle. I’d lock you in a room with the song “So Long and thanks for the Fish”. Let you out when you had more of a melody. That said, there’s oodles of coolness for the whole thing. I enjoy the last movement where all the hand pitchforks come out and ye doth rock. Strangely quiet guitar solo. Way too long for a competition, but the right length for the heavy song that it is. When and where does one see you play live? This would rock.
Sober- I was really hoping you were going to rhyme with news “… one of God’s favorite Jews”. Perhaps that was your intention. Executed very well. Not very imaginative. I feel like I’m watching He-Haw. Big genre bias, it makes me cringe. A+ on recording and performing, but I don’t think this challenge inspired you.
Cavedwellers- Truth is the best. I am so lucky to make music with this guy. He scatted the melody and came up with the concept. I wrote the words with those 2 things in place, which made it very easy. I had fun soloing and noise sculpting to express the impending doom of this place. I love this song.
glennny- I must say the vocals are amazing on this one. Glenn is such a pro! I gave him a complicated chord pattern with many key changes, he navigated it all with no problem. I enjoy all the Glen bits, the glennny bits are melodic and dialed in, Glinko has some tasty bits too. The Glen spirits provided some great vibes as well. The G &G music emporium gave this a solid foundation! The committee had to vote whether or not to have talk box in this one. SO there is some silence uncredited to talk box in this one. I hope you enjoy it. (And so do I). I do too. All of us really hope you enjoy it. Glenbot is indifferent.
I see Stacking Theory and Panna Cotta Army advancing. After that, it's very hard to predict. We'll see how the judges felt about it all soon.
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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Spintown
- DeepMind
- Posts: 468
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
Parody...novelty...that's pretty much all I write so I'm fine with that. I've only written 1 serious song, and it was at the request of my grandma. ;p Thanks for the review, I'm glad you enjoyed Joe's solo. The first time I told him I wanted a guitar solo (in Nur Ein for Parting Shot) he said that wasn't his strong suit. But I thought he did really well with it then, and in this one.glennny wrote: ↑Thu Oct 10, 2024 6:04 pmSpin Tunes & Co.- It feels pretty Ratt with the riffs. The vocals are a little more Autograph. Sweet solo! Genre appropriate. It feels very pastiche 80’s glam metal. It becomes parody when the subject matter is Minecraft. It is funny, but does it rock? The tempo is a bit slow, there’s not much edge to it. It seems like it needs some Satanism, or debauchery, or sexual bragging. I enjoy this, it takes me back to 1986 Head Bangers Ball. The hooks aren’t really hooking me, I don’t remember the melody when it’s over.
Thanks for the review. Glad we could pass (with some at least) for a lesser known Bon Jovi or Guns & Roses track. ;p Yeah, as for the story I didn't expect anyone to get it unless they watched the video, and I don't expect people to actually watch it. I'm writing for a very niche audience as usual. Doesn't really work out for me to well in contests, but I'm getting stuff I can use as content for other things, so it's working out ok. I'll try some bullet points, but it'll probably still be confusing.the panna cotta army wrote: ↑Wed Oct 09, 2024 10:50 amSpinTown & Co – I’m no aficionado of 80s metal apart from the mainstream big hits. If someone had told me this was a lesser known Bon Jovi or Guns & Roses track, I could well believe it. It’s extremely well performed and produced. I’m not really a fan of the genre so I didn’t really get a whole lot out of the song because of that, but it also seems to me almost too derivative and because of that, found it lacking some individualistic stamp. PS - Even reading your notes I couldn’t figure out what’s going on with the lyrics but then I know sweet FA about Minecraft.
- A race known as the ancient builders who lived in the overworld wanted to gain the power to create life.
- So they invaded the nether to gain the needed resources (the nether had previously failed to invade the overworld).
- Things didn't go as planned but they did end up creating a new life with what they learned there. That new life was the Wither.
- To escape the evil Wither they hid underground in newly constructed cities. Until the Wither found them.
- They tried to activate a portal to escape, and another new life form came out of it. The Warden.
- The Wither & the Warden had an epic battle, and the Warden won.
- The Warden was also not a friendly being, and would attack anyone that made a sound (they're mostly blind).
- So they ran & built a heavily fortified underground stronghold to protect themselves from the Warden.
- Eventually they made a new portal, and had just left the overworld to arrive at the End.
- This is where the song ends, with them hopeful that they'll finally be safe.
- However, like all their past attempts to create life & open portals, that would also not go well for them.
Last edited by Spintown on Sat Oct 12, 2024 12:28 pm, edited 1 time in total.
"It's not the worst thing I've ever heard." - frankie big face
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sleepysilverdoor
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
You'll have to come to my garage and clone me! Thanks for the review! Yeah, it's long. And while I didn't necessarily have Tool in mind...by the time I was approaching the end with the 21/8 sections and ending on the harmonic filled chuggy 6/8 riff with the triplet tom fills, my conscious mind recognized what my subconscious mind was doing. Tooling. But at least I wasn't in D minor!glennny wrote: ↑Thu Oct 10, 2024 6:04 pmST23r3
Celestial Drift- Lot’s of coolness going on. Another song with a lack of melody. There sure is a lot of one note phrases. Sometimes you have to be less Tool and more Perfect Circle. I’d lock you in a room with the song “So Long and thanks for the Fish”. Let you out when you had more of a melody. That said, there’s oodles of coolness for the whole thing. I enjoy the last movement where all the hand pitchforks come out and ye doth rock. Strangely quiet guitar solo. Way too long for a competition, but the right length for the heavy song that it is. When and where does one see you play live? This would rock.
"There's a lot to be said about a full-on frontal assault on the ear drums" - Pigfarmer Jr.
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Chumpy
- Twilight Sparkle
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
The Jerks are back, this time with Crumpart AKA Hot Pink Halo, with some off-the-cuff remarks and generally misinformed notions about your songs.
The deets:
Edit: The chapter entry for the Cardamom Seeds went missing, but if you listen to Glennny's chapter you should hear it.
The deets:
- Download or point your browser directly at the mp3
- Point your podcast software at the feed
- View the podcast on iTunes
- 00:00:00 - Intro song
- 00:00:44 - Beginning blather
- 00:20:44 - SpinTown & Company
- 00:27:17 - Stacking Theory
- 00:35:39 - The Pannacotta Army
- 00:40:21 - My Broken Demo Tape
- 00:49:18 - The Moon Bureau
- 00:53:16 - With Joe
- 01:01:27 - glennny
- 01:10:10 - Cavedwellers
- 01:14:57 - Siebass
- 01:20:51 - The Alleviators
- 01:25:41 - Celestial Drift
- 01:31:21 - Sober
- 01:39:38 - Falcon Artist
- 01:43:20 - Micah Sommersmith
- 01:48:15 - Berkeley Social Scene
- 01:54:40 - Distance
- 01:58:29 - Joshua Enby Drake
- 01:59:53 - Definitely Not Secretely Glennny
- 02:03:00 - End-of-podcast blather
Edit: The chapter entry for the Cardamom Seeds went missing, but if you listen to Glennny's chapter you should hear it.
"I don't recommend ending on a bad joke." --ken
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Spintown
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
Leonie: Yeah certainly writing for myself. Just using SpinTunes as a way to create content for my Minecraft YouTube channel basically. I did the same thing for Nur Ein recently. All 8 of my songs for it were also Minecraft related. Thanks for the reviews, and you're lucky, I can't give you an 80's hair band next round. ;pChumpy wrote: ↑Mon Oct 14, 2024 12:33 pmThe Jerks are back, this time with Crumpart AKA Hot Pink Halo, with some off-the-cuff remarks and generally misinformed notions about your songs.
- 00:20:44 - SpinTown & Company
Ryan: Totally get you don't have time to catch up on Minecraft lore. I didn't expect anyone to so it's all good. You guys are really lucky the last round called for a lullaby. Cause I would have gone 80's hair band again just because of these reviews. lol Thanks again for doing these reviews, I love listening to them each round.
Chumpy: Ok, you mentioned the challenge being failed, and maybe I did? I don't know, but I tried. Trying to connect this challenge to Minecraft was actually kinda hard. Going with Minecraft lore was the only thing I could think of. I tried to tell the story of the ancient builders who lived in a dangerous world & every time they attempted to cope with it via their experiments it made things worse for them. The song tells the story of them accidentally creating one of their greatest enemies (the Wither), then again accidentally bringing a Warden into their world. The song ends with them hopeful that their latest experiment will find success. Why I tacked on that last spoken line, to show their hope, but also because for those who know the lore it's obvious it's not going to go well.
So I don't know if that meets the challenge well enough, but I did try. Challenge aside, most of the reasons you mentioned for hating it, are the reasons I liked it. I get where you're coming from though, and it's fine. Thanks again for doing these podcast reviews, they're a blast to listen to.
"It's not the worst thing I've ever heard." - frankie big face
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Lunkhead
- Assistant
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
I'm not involved in the BSS song, or any of the BSS Spintunes songs this time around, but I listened to the BSS review real quick. For anybody curious about how the BSS setup works, you can see the practice space in our live-recorded videos from the online Song Fight Lives from the past few years, e.g.
https://www.youtube.com/watch?v=FRDAbti ... gRmGpfZSYb
(I'm not embedding it because the link has a timecode to start at and that doesn't seem to work in the embed.)
Everything is all set up and ready to go. The drums and amps are mic'ed for recording and go into a preamp and audio-interface that Ken has set up. Somebody plugs that into their laptop to record individual tracks into their DAW. Of course there is some bleed, of drums into guitar mics, guitars into drum mics, etc., but who cares?!
The creative process is usually: folks show up and just start writing music. We quickly write and select parts and decide which part of the song they'll be and decide on an order of parts and how many time we repeat parts, all of which goes on a whiteboard as a hastily scrawled chart. The goal is to have all the music written and then get a solid live full-band take of it, in one night. When we started we were younger and we'd work on it till 1-2am but now we're older and before I moved away in 2020 we mostly stopped by 11pm-12am. Sometimes folks will take the project home and finish it at home, overdubbing vocals, maybe other parts. If there are lyrics already available the night the music is made and recorded, though, somebody might sing them live during the recording of the live band takes, or, overdub them at the practice space at the end of the night. Re: levels and loudness, the drums are loud but so are the guitar amps, and the amps are closed mic'ed so there's probably less bleed of the drums into the guitar mics than there is of the guitars into the drum mics. Most of that kind of bleed is in the stereo overhead mic above the drums. Guitars and bass would generally try to be "just loud enough" so that everybody could hear themselves and ideally not much louder. Anyway, it's a fun thing to have and I miss it a lot!
https://www.youtube.com/watch?v=FRDAbti ... gRmGpfZSYb
(I'm not embedding it because the link has a timecode to start at and that doesn't seem to work in the embed.)
Everything is all set up and ready to go. The drums and amps are mic'ed for recording and go into a preamp and audio-interface that Ken has set up. Somebody plugs that into their laptop to record individual tracks into their DAW. Of course there is some bleed, of drums into guitar mics, guitars into drum mics, etc., but who cares?!
The creative process is usually: folks show up and just start writing music. We quickly write and select parts and decide which part of the song they'll be and decide on an order of parts and how many time we repeat parts, all of which goes on a whiteboard as a hastily scrawled chart. The goal is to have all the music written and then get a solid live full-band take of it, in one night. When we started we were younger and we'd work on it till 1-2am but now we're older and before I moved away in 2020 we mostly stopped by 11pm-12am. Sometimes folks will take the project home and finish it at home, overdubbing vocals, maybe other parts. If there are lyrics already available the night the music is made and recorded, though, somebody might sing them live during the recording of the live band takes, or, overdub them at the practice space at the end of the night. Re: levels and loudness, the drums are loud but so are the guitar amps, and the amps are closed mic'ed so there's probably less bleed of the drums into the guitar mics than there is of the guitars into the drum mics. Most of that kind of bleed is in the stereo overhead mic above the drums. Guitars and bass would generally try to be "just loud enough" so that everybody could hear themselves and ideally not much louder. Anyway, it's a fun thing to have and I miss it a lot!-
BoffoYux
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
First of all, shout out to Matt Schubbe for the graphic design for the album covers, which are consistently excellent. My wife, who worked in the art department at the Onion for years, entered the room while I was listening and immediately complimented the artwork, so I wanted to pass that along! In fact, so much work goes into this competition to make it a great experience for the artists, and I really appreciate that! It must be why we all return. Everyone, bow their heads.
Okay, annnnd break.
This round was awesome. I had a great time listening and a terrible time judging. Even my pick for last place is a song that I think is pretty good. This group really stepped their game up and everybody should be proud, but the nature of the game is: I judge. Here we go!
SpinTown & Company - Ancient Blunders
Okay, I know this song is about Minecraft. I’m seeing the ST&Co pattern, but I like that I’d have no idea it was about Minecraft from listening or reading the lyrics. It just sounds like a legendary tale about Vikings or Huns or some other group of nomadic warriors. I believe the “Wither” is the only direct reference to something that is Minecraft-exclusive, but even that sounds like a poetic way of saying “plague” or “famine” or some other tragedy that forced migration. If I have any gripe about the lyrics, it’s that there are moments where they’re a tad simple and don’t feel exactly right. Moments like “this land is rich with death and strife”. I immediately know the next lyric is going to be “life”. I like the juxtaposition of using a term like “rich” to describe something negative, but the only time I’ve heard somebody use the word “strife” was to rhyme it with “life” or “wife” and given the context, it wasn’t hard to predict which one it would be here. I love the line “we invaded the invaders” but it’s followed by rhyming “away” with “way” which again, lands tepidly instead of epically.
The production sounds great as always. It’s very Enter Sandman, but it’s rich and full with some fun instrumental surprises. That guitar solo is a blast, great tapping! In general, I was a little more emotionally moved by other productions this round, but I think this is a solid contribution and I’m glad ST&CO was reinstated!
Stacking Theory - Cluck Lucky
Some more lush layers from Stacking Theory and once again, I loved them! I also enjoy the use of the challenge: the songwriter has much more knowledge about the world than a chicken who wakes up, survives, and goes to bed. Great! That works for me and I think at its core, it’s more complicated and less silly than the title, multiple puns, or chorus implies. I love how calm and melancholy it is. It sounds really lonely, like the chicken is trying to be grateful, but can’t quite convince itself.
On my first listen, when I was just absorbing the songs without looking at the titles at all, it was rewarding to slowly realize that this song is about a literal chicken. I think if you told me what it was about before I listened, I wouldn’t have thought it would work, but ironically, there’s something very human about the crisis this chicken is facing and I’m here for it!
The Panacotta Army - Cool Dad
This is easily my favorite TPA track in this competition so far. I really like the sound, the production is lovely, and the vocal performance is right in the pocket. Overall, I found it really pleasant to listen to.
I do like the idea of the song being from the perspective of a kid who doesn’t understand who his Dad really is, but my one big gripe is that the execution leaves a lot on the table. All of the things that make the listener understand the dad is a “criminal” (which I learned from the song bio which is for cheaters) are very superficial. Tattoos, piercings, chains, and saying “fuck” a lot might imply to a certain generation that a character is unsavory, but by those descriptions, this kid’s dad could just be a SpinTuner. I’d rather hear the child misinterpret the father’s actions as opposed to just assuming who he is from repeated descriptions of his appearance. One of the most effective moments in the song is when the father says he’d have to kill his son if he revealed what line of work he’s in, but that’s one of the only non-physical descriptions that tells the listener who the child’s dad actually is.
My Broken Demo Tape - Superman 3
Lyrically, this track is S-tier. The way the narrator speaks not only informs the character, it also paints a clear picture of a rich, complicated world. I wish the word “even” wasn’t used twice in the same sentence, but I laughed out loud the first time I heard “I even offered to pray for the queers even though they are sinners”. It’s a perfect way of describing that small-town “I’m-not-a-bigot, I-just-think-they’re-morally-incorrect” mentality. I could go into detail about every line of this song and how effective it is at creating both imagery and emotion, but I’m just going to leave it and say that the writing here is top notch and I love it.
The production has mostly good things happening. The performances are compelling and the vocal is excellent. Not unlike the song’s narrator, it doesn’t try too hard, but it never gets boring and I felt engaged the entire time. My one complaint, and I will say that it’s kind of a big one and has really been affecting my enjoyment, is that the cello (or stand up bass? Whatever that is.) is not mixed very well and the low end sounds super muddy as a result. There’s some stuff in the 100-250 range that’s super woofy, borderline painful, and needs to be cut out or significantly turned down. That said, if MBDT fixes the mix, I’ll continue listening to this song long after this competition is over.
The Moon Bureau - Copinghaven
I love the instrumental on this song. It has the sound that I’ve started expecting from TMB, but the direction feels different than the previous two songs and I really dig the solo section that starts around 1:12. I will say that the vocals could have used a few more takes as it’s not the most compelling or accurate vox I’ve heard from this artist so far and it makes the instrumental do the majority of the heavy lifting.
Lyrically, I’m pleased that TMB is not referencing other pieces of media, but I think it would have been more refreshing to hear a song that isn’t a love story about a fantasy girl, as TMB has tread that ground in this competition already. It doesn’t stop me from loving a lyric like “I almost had to applaud, that midnight on the promenade”, but I think I’m ready for some new dimensions to TMB’s point of view.
With Joe - Abigail
Melodically, I think this verse/chorus combo is one of the strongest from WJ so far. The trap of a musical theater style is that sometimes the melody and lyrics are sacrificed and instead we get a structure that is exclusively designed for a bunch of vocal runs. That isn’t the case here. This track does a great job of showing off WJ’s impressive vocals while still feeling like a song with discernible sections that I really enjoyed returning to.
On the surface, the lyrics are pretty straight forward but I think the emotion in the vocal sells the premise. This narrator has convinced themself that this is a perfect relationship with a bright future despite age gaps, fights they don’t take seriously, and Abigail’s (probably correct) friends trying to talk her out of it. It makes me believe that it’s true love until I go back and read the lyrics and notice all of the red flags. If this track had the usual production bells and whistles that WJ is capable of instead of just a piano and four-on-the-floor kick, I may have ranked it even higher, but as it stands, I still really enjoyed it!
glenny - Spartacus
I really like this track. First off, the production is top-notch. It’s a little Durand Durand, a little Beatles, and a whole lot of fun. I’ve now learned that it’s actually not glenny who is singing? Or at least one part of the song isn’t glenny? Or something? I mean, one takeaway from ST23 is that I have to accept that I will never know who glenny is. I think that’s beautiful.
This song is lyrically dense and while a lot of it goes over my head, I don’t really care. It uses an interesting word palette. I mean, I don’t understand what a “Barometric jest” is (maybe like a long-winded joke?), but I sure do like the sound of it. Bourbon on bayou? Is that referencing Bourbon street in New Orleans or is it just a set of words that sound nice together? Who knows, but I’ve been singing “Bourbon on Bayouuuuuu” in my head for the last few days so there must be something there.
Also, those bridge lyrics are so damn satisfying. This is just a really good track.
cardamom seed - there’s a trojan horse in my house and while I didn’t invite him in, I think he might stay
I love the concept that is explored here. The lyrics are great and the point of view is both genuinely funny and frustratingly sad. I’m trying not to laugh while also feeling sorry for the narrator as I listen to them make every obvious misstep toward getting scammed. It’s just really effective lyricism.
As a fan of this artist, I will say that production-wise, it’s not my favorite from them so far. I’m not saying that it’s bad at all, because I enjoy a lot of it. Specifically, the chorus “This Trojan Horse now lives in my house” really sticks for me. There isn’t a ton of organic, dynamic instrumentation and while that isn’t always necessary, I really noticed it here. I’m not sure if the trumpet is real or not, but against this backdrop, it sounds digital and it mimics the chorus instead of harmonizing with it. I also think there are a few moments where some additional vocal takes would have benefitted the track overall. The sections around “or my login”, “nothings appearing”, and “a little jig to see the long days out” are not as melodically confident as the rest of the song. I like the ideas, I’m just not sure the performance always nailed it. That said, the mix is nice and I’m really grateful for the reduced amount of harsh sibilance.
In the end, I really did enjoy this song, but in a strong round with a lot of great entries, I think it lands somewhere in the middle.
Cavedwellers - In Prypiat
I know my genre-bias is going to show here, but this song rules. It’s somehow dark, heavy, and boppy. The joyfulness of the vocal performance reminds me of those old 50’s promos for cigarettes and the juxtaposition of the melodies in the verse/chorus against the twisted, nasty instrumental sections is awesome. They transition so well into one another and are super effective when it comes to telling this terrifying story.
Great production. Great performances. Great lyrics. Great mix. Oh, and a great bassist. Nobody ever compliments the bassist especially in a song like this where they’re chugging along on one note while the guitarist (excellent) sends you to space, but I’m brave and different, so I want to say that the bassist is doing the work and doing it really well. They have a super nice tone and a groovy pocket that comes alive on the chorus. I love this song and it would have gotten the top spot from me if it wasn’t for one other track…
Siebass - Not Good Enough
I know this song got the bottom spot from me, but there are some things about it that I really enjoyed. The melody evolves nicely and I think Siebass performs it with a lot of investment and passion. There’s some great production in the background and I love the way the track grows and becomes more ferocious as it moves forward.
There are also some moments that really wear on me. The singular, hyper-present piano note that is foundational to the point of view of the song is more distracting than it is effective. I also am a little weary of songs that seek validation from the listener about their right to exist. “Do you like this? Do you like me? Am I good? Is this good?” feels like it takes energy to listen to and while I think everybody in this competition understands that point of view, it’s very anxious and needy without nailing the self-awareness. I agree that you don’t need to mine trauma in order to write a great song, but like a lot of the top tracks from ST23 (including my winner this round), the best songs, and even art in general, come from a place of vulnerability, clarity, and most importantly, necessity. They aren’t mining their trauma; they’re expressing and processing an emotional point of view. To me, that’s an elevated form of communication that exceeds the limitations of language, so naturally I’m drawn to songs that felt necessary for the artist to make. Maybe to Siebass, that’s what is happening here and this isn’t a terrible track by any stretch of the imagination, but if the intention was to win my sympathy, it was not successful.
The Alleviators - Only Human
By far my favorite track from the Alleviators so far! Easily the most confident melody that I’ve heard them perform and the lyrics are vastly improved from the first round. This is a complicated, nuanced take on the Adam and Eve story. The waltzy guitars and worship melody combine to make it sound like a church track, but it’s so interesting to hear how the narrator uses them to question the hypothetical creator in a totally legitimate way. Stuff like, “If I’m made in your image, Shouldn’t you know that I need to know?” is such an effective use of words. I also love how the production subtly grows and fills up without becoming distracting.
If I had one complaint, it would be that the last verse when it returns to guitar and vox could stand to be recorded again. It sounds like it was probably one of the last things finished and it’s a little bit more tired, removed, and less accurate than the rest of the track. Overall though, I really enjoyed this one.
Celestial Drift - It’ll Be Okay
This song truly left me wrecked every time I listened to it. I mentioned in my Siebass review that nobody needs to mine their trauma for a song, but this one felt totally necessary for the artist to make. When it started, I thought it sounded kind of despondent and detached, similar to the way a Slint song makes me feel, and then it evolves into this incredible, harrowing journey.
Every performance in this song is awesome. The early “I’ll be okays” are ominous while acting as a metaphorical calm before the storm. The doppler FX layered with heavy guitar leading into an emotionally-charged vocal performance is such a strong transition from the front half of the song to the back half and by the end, the artist has lost all ego and sounds like they’re panicked and crying. The lyrics use really simple language, but they fall inside such a specific, unnerving pocket. The use of the live recording is terrifying and sad and my heart felt heavy listening to it. This was a beautiful way to speak on a topic that I know is personal and as the artist continues to witness the aftermath of the recent hurricanes, I genuinely hope both they and their loved ones are okay!
Sober - Truest Believer
This is a pretty good song, but as a big Sober fan, it didn’t quite hit the highs I felt in the previous two rounds. Despite its excellent placement as I absolutely needed some levity to close out this playlist, a waltz is always going to be tricky and this one felt a little tired by the end of the track.
The lyrics and POV are great, but it’s not the most natural vocal performance and I definitely felt like I could hear Sober reading the lyrics more than performing them. I understand the intention is that it’s supposed to sound like it’s coming from the pulpit of a small, wooden church way out in the forest somewhere, but I feel like it’s missing the usual commitment to character that I’ve come to expect from this artist. I hear Sober talking self-righteously about fire and brimstone, but having been in rooms with faith-leaders like this, I’m not sure I feel it.
That being said, the lyrics are really great. I love the line “Let the Lord decide winners and losers, what else are we righteous to do?”. The way that it makes a statement that immediately negates itself is fun and self-aware.
Per usual, the production is nice and the instrumental performances are excellent, but the constant 1-2-3 starts to feel a little bit bland by the end of the track. Again, this isn’t bad, but against the others this round, I just didn’t find myself connecting with it as much.
Okay, annnnd break.
This round was awesome. I had a great time listening and a terrible time judging. Even my pick for last place is a song that I think is pretty good. This group really stepped their game up and everybody should be proud, but the nature of the game is: I judge. Here we go!
- ST23R3 Chas.JPG (25.96 KiB) Viewed 315 times
SpinTown & Company - Ancient Blunders
Okay, I know this song is about Minecraft. I’m seeing the ST&Co pattern, but I like that I’d have no idea it was about Minecraft from listening or reading the lyrics. It just sounds like a legendary tale about Vikings or Huns or some other group of nomadic warriors. I believe the “Wither” is the only direct reference to something that is Minecraft-exclusive, but even that sounds like a poetic way of saying “plague” or “famine” or some other tragedy that forced migration. If I have any gripe about the lyrics, it’s that there are moments where they’re a tad simple and don’t feel exactly right. Moments like “this land is rich with death and strife”. I immediately know the next lyric is going to be “life”. I like the juxtaposition of using a term like “rich” to describe something negative, but the only time I’ve heard somebody use the word “strife” was to rhyme it with “life” or “wife” and given the context, it wasn’t hard to predict which one it would be here. I love the line “we invaded the invaders” but it’s followed by rhyming “away” with “way” which again, lands tepidly instead of epically.
The production sounds great as always. It’s very Enter Sandman, but it’s rich and full with some fun instrumental surprises. That guitar solo is a blast, great tapping! In general, I was a little more emotionally moved by other productions this round, but I think this is a solid contribution and I’m glad ST&CO was reinstated!
Stacking Theory - Cluck Lucky
Some more lush layers from Stacking Theory and once again, I loved them! I also enjoy the use of the challenge: the songwriter has much more knowledge about the world than a chicken who wakes up, survives, and goes to bed. Great! That works for me and I think at its core, it’s more complicated and less silly than the title, multiple puns, or chorus implies. I love how calm and melancholy it is. It sounds really lonely, like the chicken is trying to be grateful, but can’t quite convince itself.
On my first listen, when I was just absorbing the songs without looking at the titles at all, it was rewarding to slowly realize that this song is about a literal chicken. I think if you told me what it was about before I listened, I wouldn’t have thought it would work, but ironically, there’s something very human about the crisis this chicken is facing and I’m here for it!
The Panacotta Army - Cool Dad
This is easily my favorite TPA track in this competition so far. I really like the sound, the production is lovely, and the vocal performance is right in the pocket. Overall, I found it really pleasant to listen to.
I do like the idea of the song being from the perspective of a kid who doesn’t understand who his Dad really is, but my one big gripe is that the execution leaves a lot on the table. All of the things that make the listener understand the dad is a “criminal” (which I learned from the song bio which is for cheaters) are very superficial. Tattoos, piercings, chains, and saying “fuck” a lot might imply to a certain generation that a character is unsavory, but by those descriptions, this kid’s dad could just be a SpinTuner. I’d rather hear the child misinterpret the father’s actions as opposed to just assuming who he is from repeated descriptions of his appearance. One of the most effective moments in the song is when the father says he’d have to kill his son if he revealed what line of work he’s in, but that’s one of the only non-physical descriptions that tells the listener who the child’s dad actually is.
My Broken Demo Tape - Superman 3
Lyrically, this track is S-tier. The way the narrator speaks not only informs the character, it also paints a clear picture of a rich, complicated world. I wish the word “even” wasn’t used twice in the same sentence, but I laughed out loud the first time I heard “I even offered to pray for the queers even though they are sinners”. It’s a perfect way of describing that small-town “I’m-not-a-bigot, I-just-think-they’re-morally-incorrect” mentality. I could go into detail about every line of this song and how effective it is at creating both imagery and emotion, but I’m just going to leave it and say that the writing here is top notch and I love it.
The production has mostly good things happening. The performances are compelling and the vocal is excellent. Not unlike the song’s narrator, it doesn’t try too hard, but it never gets boring and I felt engaged the entire time. My one complaint, and I will say that it’s kind of a big one and has really been affecting my enjoyment, is that the cello (or stand up bass? Whatever that is.) is not mixed very well and the low end sounds super muddy as a result. There’s some stuff in the 100-250 range that’s super woofy, borderline painful, and needs to be cut out or significantly turned down. That said, if MBDT fixes the mix, I’ll continue listening to this song long after this competition is over.
The Moon Bureau - Copinghaven
I love the instrumental on this song. It has the sound that I’ve started expecting from TMB, but the direction feels different than the previous two songs and I really dig the solo section that starts around 1:12. I will say that the vocals could have used a few more takes as it’s not the most compelling or accurate vox I’ve heard from this artist so far and it makes the instrumental do the majority of the heavy lifting.
Lyrically, I’m pleased that TMB is not referencing other pieces of media, but I think it would have been more refreshing to hear a song that isn’t a love story about a fantasy girl, as TMB has tread that ground in this competition already. It doesn’t stop me from loving a lyric like “I almost had to applaud, that midnight on the promenade”, but I think I’m ready for some new dimensions to TMB’s point of view.
With Joe - Abigail
Melodically, I think this verse/chorus combo is one of the strongest from WJ so far. The trap of a musical theater style is that sometimes the melody and lyrics are sacrificed and instead we get a structure that is exclusively designed for a bunch of vocal runs. That isn’t the case here. This track does a great job of showing off WJ’s impressive vocals while still feeling like a song with discernible sections that I really enjoyed returning to.
On the surface, the lyrics are pretty straight forward but I think the emotion in the vocal sells the premise. This narrator has convinced themself that this is a perfect relationship with a bright future despite age gaps, fights they don’t take seriously, and Abigail’s (probably correct) friends trying to talk her out of it. It makes me believe that it’s true love until I go back and read the lyrics and notice all of the red flags. If this track had the usual production bells and whistles that WJ is capable of instead of just a piano and four-on-the-floor kick, I may have ranked it even higher, but as it stands, I still really enjoyed it!
glenny - Spartacus
I really like this track. First off, the production is top-notch. It’s a little Durand Durand, a little Beatles, and a whole lot of fun. I’ve now learned that it’s actually not glenny who is singing? Or at least one part of the song isn’t glenny? Or something? I mean, one takeaway from ST23 is that I have to accept that I will never know who glenny is. I think that’s beautiful.
This song is lyrically dense and while a lot of it goes over my head, I don’t really care. It uses an interesting word palette. I mean, I don’t understand what a “Barometric jest” is (maybe like a long-winded joke?), but I sure do like the sound of it. Bourbon on bayou? Is that referencing Bourbon street in New Orleans or is it just a set of words that sound nice together? Who knows, but I’ve been singing “Bourbon on Bayouuuuuu” in my head for the last few days so there must be something there.
Also, those bridge lyrics are so damn satisfying. This is just a really good track.
cardamom seed - there’s a trojan horse in my house and while I didn’t invite him in, I think he might stay
I love the concept that is explored here. The lyrics are great and the point of view is both genuinely funny and frustratingly sad. I’m trying not to laugh while also feeling sorry for the narrator as I listen to them make every obvious misstep toward getting scammed. It’s just really effective lyricism.
As a fan of this artist, I will say that production-wise, it’s not my favorite from them so far. I’m not saying that it’s bad at all, because I enjoy a lot of it. Specifically, the chorus “This Trojan Horse now lives in my house” really sticks for me. There isn’t a ton of organic, dynamic instrumentation and while that isn’t always necessary, I really noticed it here. I’m not sure if the trumpet is real or not, but against this backdrop, it sounds digital and it mimics the chorus instead of harmonizing with it. I also think there are a few moments where some additional vocal takes would have benefitted the track overall. The sections around “or my login”, “nothings appearing”, and “a little jig to see the long days out” are not as melodically confident as the rest of the song. I like the ideas, I’m just not sure the performance always nailed it. That said, the mix is nice and I’m really grateful for the reduced amount of harsh sibilance.
In the end, I really did enjoy this song, but in a strong round with a lot of great entries, I think it lands somewhere in the middle.
Cavedwellers - In Prypiat
I know my genre-bias is going to show here, but this song rules. It’s somehow dark, heavy, and boppy. The joyfulness of the vocal performance reminds me of those old 50’s promos for cigarettes and the juxtaposition of the melodies in the verse/chorus against the twisted, nasty instrumental sections is awesome. They transition so well into one another and are super effective when it comes to telling this terrifying story.
Great production. Great performances. Great lyrics. Great mix. Oh, and a great bassist. Nobody ever compliments the bassist especially in a song like this where they’re chugging along on one note while the guitarist (excellent) sends you to space, but I’m brave and different, so I want to say that the bassist is doing the work and doing it really well. They have a super nice tone and a groovy pocket that comes alive on the chorus. I love this song and it would have gotten the top spot from me if it wasn’t for one other track…
Siebass - Not Good Enough
I know this song got the bottom spot from me, but there are some things about it that I really enjoyed. The melody evolves nicely and I think Siebass performs it with a lot of investment and passion. There’s some great production in the background and I love the way the track grows and becomes more ferocious as it moves forward.
There are also some moments that really wear on me. The singular, hyper-present piano note that is foundational to the point of view of the song is more distracting than it is effective. I also am a little weary of songs that seek validation from the listener about their right to exist. “Do you like this? Do you like me? Am I good? Is this good?” feels like it takes energy to listen to and while I think everybody in this competition understands that point of view, it’s very anxious and needy without nailing the self-awareness. I agree that you don’t need to mine trauma in order to write a great song, but like a lot of the top tracks from ST23 (including my winner this round), the best songs, and even art in general, come from a place of vulnerability, clarity, and most importantly, necessity. They aren’t mining their trauma; they’re expressing and processing an emotional point of view. To me, that’s an elevated form of communication that exceeds the limitations of language, so naturally I’m drawn to songs that felt necessary for the artist to make. Maybe to Siebass, that’s what is happening here and this isn’t a terrible track by any stretch of the imagination, but if the intention was to win my sympathy, it was not successful.
The Alleviators - Only Human
By far my favorite track from the Alleviators so far! Easily the most confident melody that I’ve heard them perform and the lyrics are vastly improved from the first round. This is a complicated, nuanced take on the Adam and Eve story. The waltzy guitars and worship melody combine to make it sound like a church track, but it’s so interesting to hear how the narrator uses them to question the hypothetical creator in a totally legitimate way. Stuff like, “If I’m made in your image, Shouldn’t you know that I need to know?” is such an effective use of words. I also love how the production subtly grows and fills up without becoming distracting.
If I had one complaint, it would be that the last verse when it returns to guitar and vox could stand to be recorded again. It sounds like it was probably one of the last things finished and it’s a little bit more tired, removed, and less accurate than the rest of the track. Overall though, I really enjoyed this one.
Celestial Drift - It’ll Be Okay
This song truly left me wrecked every time I listened to it. I mentioned in my Siebass review that nobody needs to mine their trauma for a song, but this one felt totally necessary for the artist to make. When it started, I thought it sounded kind of despondent and detached, similar to the way a Slint song makes me feel, and then it evolves into this incredible, harrowing journey.
Every performance in this song is awesome. The early “I’ll be okays” are ominous while acting as a metaphorical calm before the storm. The doppler FX layered with heavy guitar leading into an emotionally-charged vocal performance is such a strong transition from the front half of the song to the back half and by the end, the artist has lost all ego and sounds like they’re panicked and crying. The lyrics use really simple language, but they fall inside such a specific, unnerving pocket. The use of the live recording is terrifying and sad and my heart felt heavy listening to it. This was a beautiful way to speak on a topic that I know is personal and as the artist continues to witness the aftermath of the recent hurricanes, I genuinely hope both they and their loved ones are okay!
Sober - Truest Believer
This is a pretty good song, but as a big Sober fan, it didn’t quite hit the highs I felt in the previous two rounds. Despite its excellent placement as I absolutely needed some levity to close out this playlist, a waltz is always going to be tricky and this one felt a little tired by the end of the track.
The lyrics and POV are great, but it’s not the most natural vocal performance and I definitely felt like I could hear Sober reading the lyrics more than performing them. I understand the intention is that it’s supposed to sound like it’s coming from the pulpit of a small, wooden church way out in the forest somewhere, but I feel like it’s missing the usual commitment to character that I’ve come to expect from this artist. I hear Sober talking self-righteously about fire and brimstone, but having been in rooms with faith-leaders like this, I’m not sure I feel it.
That being said, the lyrics are really great. I love the line “Let the Lord decide winners and losers, what else are we righteous to do?”. The way that it makes a statement that immediately negates itself is fun and self-aware.
Per usual, the production is nice and the instrumental performances are excellent, but the constant 1-2-3 starts to feel a little bit bland by the end of the track. Again, this isn’t bad, but against the others this round, I just didn’t find myself connecting with it as much.
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BoffoYux
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
ST23.3 Reviews and Rankings - Edric Haleen
My Process:
First Pass:
Basically the same as in the previous rounds. I set down my initial impressions during the Listening Party. I did not look at the artist or song title as the songs played, nor did I watch the YouTube chat – I simply listened to the songs to see what I took from them on their own strengths alone. I made notes of which vocals were clear and which were hard to discern; I made notes of which stories were understandable on first listen and which were more opaque; I made notes about whether I could understand how the song’s narrator satisfied the challenge or whether I’d need to turn to the “liner notes.”
Second Pass:
I once again listened to the songs in reverse submission order for the second pass, again in a quest to be more fair to those songs at the end of the album. I spread these re-listens across Tuesday, Wednesday, and Thursday, listening to each song multiple times, paying attention to story and structure, creativity and craft. And again, I saved thinking about points and rankings for the final pass.
Final Pass:
On Friday, I started filling scores into the same matrix I used for the first two rounds. And again, my comments stemmed largely from my notes from earlier in the week, and the scores came from actively re-listening to each song as I worked on each ranking.
Scoring Categories:
Met the Challenge (Was the connection clear/strong/tenuous/creative?)
Music (Did it serve the song well? Was it interesting/appropriate/evocative/engaging? Did it enhance the story, co-exist with the story, or seem at odds with the story? Note – I imagined what a professional recording might sound like when I assigned actual scores for Music, so participants would not automatically be “penalized” if they didn’t have an abundance of resources at their disposal. But I did add an extra 0.5 if an arrangement went “above-and-beyond,” and/or and extra 0.5 if I felt the music served to significantly enhance the story. A score of “2” should be considered my “expectation” for this category.)
Story (Did it serve the song well? Was it interesting/appropriate/evocative/engaging? Note – I did not judge how strongly it met the challenge when I assigned actual scores for Story; that’s what “Met the Challenge” was for. A score of “2” should be considered my “expectation” for this category.)
Lyric (Did the lyrics still on the melody line well? Did the words-chosen serve the lyric well? Once a metrical pattern was established, was it adhered to throughout the song, or were syllables squooshed-in or left-out across recurrences of similar sections of the lyric? A score of “2” should be considered my “expectation” for this category.)
Rhyme Scheme (Once a rhyme scheme was established, was it adhered to throughout the song, or were rhymes squooshed-in or left-out across recurrences of similar sections of the lyric? Note – I did not penalize for near-rhymes or identities when I assigned actual scores for Rhyme Scheme, but I did award an extra 0.25 points to competitors who rhymed perfectly across an entire rhyme scheme. A score of “3” should be considered my “expectation” for this category.)
Tie-Breaker “Bumps” (This is a place where I could add in hundredths of a point to break ties for the sake of assigning distinct rankings to all 23 entries.)
My scores/rankings can be viewed in this Google Sheet.
- ST23R3 Edric.JPG (26.3 KiB) Viewed 315 times
First Pass:
Basically the same as in the previous rounds. I set down my initial impressions during the Listening Party. I did not look at the artist or song title as the songs played, nor did I watch the YouTube chat – I simply listened to the songs to see what I took from them on their own strengths alone. I made notes of which vocals were clear and which were hard to discern; I made notes of which stories were understandable on first listen and which were more opaque; I made notes about whether I could understand how the song’s narrator satisfied the challenge or whether I’d need to turn to the “liner notes.”
Second Pass:
I once again listened to the songs in reverse submission order for the second pass, again in a quest to be more fair to those songs at the end of the album. I spread these re-listens across Tuesday, Wednesday, and Thursday, listening to each song multiple times, paying attention to story and structure, creativity and craft. And again, I saved thinking about points and rankings for the final pass.
Final Pass:
On Friday, I started filling scores into the same matrix I used for the first two rounds. And again, my comments stemmed largely from my notes from earlier in the week, and the scores came from actively re-listening to each song as I worked on each ranking.
Scoring Categories:
Met the Challenge (Was the connection clear/strong/tenuous/creative?)
Music (Did it serve the song well? Was it interesting/appropriate/evocative/engaging? Did it enhance the story, co-exist with the story, or seem at odds with the story? Note – I imagined what a professional recording might sound like when I assigned actual scores for Music, so participants would not automatically be “penalized” if they didn’t have an abundance of resources at their disposal. But I did add an extra 0.5 if an arrangement went “above-and-beyond,” and/or and extra 0.5 if I felt the music served to significantly enhance the story. A score of “2” should be considered my “expectation” for this category.)
Story (Did it serve the song well? Was it interesting/appropriate/evocative/engaging? Note – I did not judge how strongly it met the challenge when I assigned actual scores for Story; that’s what “Met the Challenge” was for. A score of “2” should be considered my “expectation” for this category.)
Lyric (Did the lyrics still on the melody line well? Did the words-chosen serve the lyric well? Once a metrical pattern was established, was it adhered to throughout the song, or were syllables squooshed-in or left-out across recurrences of similar sections of the lyric? A score of “2” should be considered my “expectation” for this category.)
Rhyme Scheme (Once a rhyme scheme was established, was it adhered to throughout the song, or were rhymes squooshed-in or left-out across recurrences of similar sections of the lyric? Note – I did not penalize for near-rhymes or identities when I assigned actual scores for Rhyme Scheme, but I did award an extra 0.25 points to competitors who rhymed perfectly across an entire rhyme scheme. A score of “3” should be considered my “expectation” for this category.)
Tie-Breaker “Bumps” (This is a place where I could add in hundredths of a point to break ties for the sake of assigning distinct rankings to all 23 entries.)
My scores/rankings can be viewed in this Google Sheet.
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BoffoYux
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
ST23.3 Reviews and Rankings - Chumpy
Chumpy and Ryan offer their reviews on their podcast Two Jerks One Vote.
https://twojerksonevote.com/posts/lbtl/
- ST23R3 Chumpy.JPG (26.44 KiB) Viewed 315 times
https://twojerksonevote.com/posts/lbtl/
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BoffoYux
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
ST23.3 Reviews and Rankings - Ryan Finholm
Ryan and Chumpy offer their reviews on their podcast Two Jerks One Vote.
https://twojerksonevote.com/posts/lbtl/
- ST23R3 Ryan.JPG (26.39 KiB) Viewed 315 times
https://twojerksonevote.com/posts/lbtl/
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BoffoYux
- Grok
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Re: ST23 Round 3 Challenge 'Listen Between the Lines'
ST23.3 Reviews and Rankings - Leonie Connellan
Leonie says:
Hello contestants! This week I did not need to write 3000-5000 words about your songs because I spoke them instead! You can find my reviews as an honorary Third Jerk on the wonderful Two Jerks One Vote podcast.
https://twojerksonevote.com/posts/lbtl/
- ST23R3 Leonie.JPG (26.12 KiB) Viewed 315 times
Hello contestants! This week I did not need to write 3000-5000 words about your songs because I spoke them instead! You can find my reviews as an honorary Third Jerk on the wonderful Two Jerks One Vote podcast.
https://twojerksonevote.com/posts/lbtl/