Stubby Phillips wrote:King Arthur: Had to settle for an accordion instead of steel, huh? It works. Everything's there and it all fits. I just don't understand why anyone would want to record a song like this when there's so much Metal and Thrash yet to be mined. You get one Gibson EH-185 plastered with Iron Maiden stickers.
Why: 'cause I'm really old and once I had the lyric, this is the music it called for. FYI, those are synth fiddles, not an accordion. Even I have my limits, and trying to do steel guitar on a synth is beyond mine.
Thanky for the amplifier, if I can peel those stickers off it'll be a nice addition to the studio.
Seriously, thanks for doing reviews (you and everyone). Even if you don't like my stuff, it's helpful to know WHY you don't like it...
Charles (KA)
"...one does not write in dactylic hexameter purely by accident..." - poetic designs
mr_lostman wrote:Jon Eric: Grant says "This desperately needs a counter melody". I feel that if there were a mix tape of all these songs, this would be the final track. Its a nice closer, simplistic in style and delivery. Nothing that stands out about it though.
I hear what you're saying about the countermelody; I've got a bad habit of only thinking up decent arrangements after the deadline has passed. I thought of a better bassline yesterday.
I find it interesting that you think the short length and sparse arrangement make it a good closing track. That's something I associate more with the 70s album-rock artists (Billy Joel and Elton John each have a good example - Joel's is "Souvenir," the last track on his 1975 album Streetlife Seranade, which wasn't a big hit; and John's is "Goodbye," the closing track to his Madman Across the Water, which was). My personal preference would be to have a short, quiet song break up an album, as sort of an interlude, maybe 2/3 the way through. See also Ben Folds' "Cigarette," from Whatever and Ever Amen. I'm sure there's other examples, but I can't think of any from the top of my head right now.
As of right now, I am planning on including "The Middle Part" on my next album, which will be ready around Xmas. It'll probably be near the middle, mainly because I prefer to end on a more optimistic note.
Thanks for the reviews, by the way. I'm responding to yours late because it got lost in the shuffle first time around, and I only just noticed!
"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
well... i'm brand new here, and even though the only song of mine you have to hear is mediocre at best, despite being so quiet no one can make out the words, I am going to give my 2 cents as a pair of fresh ears, having heard none of your previous work.
so here we go:
the HATE noise: this song makes me laugh, in a good way... "if i get some alcohol" brilliant... i gritted my teeth and listened to the noise at the end, assuming that it was the "hate noise" (cause i hated it). i was trying to decipher some words or point to it, and couldnt find one other than fading back into the beat, which is sick by the way, i like the little guitar part, and the high whiney part. this is the song that got my vote.
Berkeley Social Scene: cool pop tune, i feel like i've heard it before. i like the drummer, kinda plays a little off and it makes you want to nod your head. the singer has a cool voice, but it sounded a little like he had to force some notes to happen, and there wasn't really any part he was able to stick and hold the note perfectly. given, that is ridiculously hard to do, but the vocals in this recording sound like what id expect to hear live... not necessarily on record.
LSK: cool little beat, i kinda hear that as the refrain in a different song... like a 4 measure little connector in like a beck song or something. as the whole song, with only a tiny keyboard part, and lyrics that as you said are no "work of art", it got really boring really fast.
Architects of Desire: i like the music a lot. the drums at the beginning are super cool. the voice, though obviously very well trained, and on key, lacked any edge what so ever. that may have been what you were going for. however i believe it makes you come across as flat, and unemotional. i believe "pretty" is a word i would use. i would like to hear you put some ass into it and belt those words out, not just sing them along with the music. the words mean nothing if you don't feel them.
Jon Eric: fun little pop ditty... you can obviously play the piano well, and from your posts it sounds as if this was meant to be a quiet tune... i want to hear a rocking one. your sound reminds me of ben folds, and i would be careful not to sound too much like someone else. again this is the only thing i've ever heard from you, so it may be a bad indicator of your "sound" so don't get mad at me. all in all i liked it cause it was clever, the part about the spiddle falling in your lap was funny, and it was played ably performed. good for a quick song on an album... but id probably change the channel if it came on the radio.
Tuners Union: cool groove, and the lyrics made me laugh. the kind of band id like to see in a small smoke filled bar. i like the first chorus(?) part where it gets all fast, and if it had stayed fast like that it would have gotten my vote.
Steve Durand: hahaha... i see this in a "hair cuttery" commercial. i'd honestly like to hear something dark and gritty from you... like johnny cash meets raffi. good job
Ross Durand: you have the licks, you have the words... but as i've said to others, i want to hear you play heavier, and i want to hear you belt out those words. it's hard for me to get behind the singer, and take him/her seriously if it sounds like he's just regurgitating the words. this is a hard thing to do in the studio, where you want it to sound perfect. it is something i struggle with myself. there were points where i heard it busting out from inside you, like it wanted to just be screamed out, but you held it back into a dylanesque nasal whisper thing. if you haven't heard of the band "Lucero" you should check them out. i think you'll dig em.
Bachelor Police: Not a bad song, but as with BSS, it is what i'd expect to hear if i saw you in a bar... not on record. everything is all mashed up, the backup vocals are not in synch, and the guitar has enough reverb to gag a mule... yes, a mule. i'd love to hear a super clean version of this song, cause it is incredibly catchy, and a good tune... but as is i need to be drunk.
Queen Cigarette: i like the chill guitars. there are parts where your voice sounds really good, and others not so much. but it's a good tune. i hear the little solo part at the end behind like a car ride scene in a movie, like with some chick just staring out the window with the world flying by... cool imagery
Mike Lamb: isn't that the beginning of like every slow metallica song ever? i think so... waiting for it to rock... never happened.
King Arthur: cute story. nothing i can really say about this song, its well put together, maybe a little too much echo on the voice. not my favorite, cause i like a little more edge, but i have to respect the musicianship.
Masterhyde: the beat is pretty good, but im not impressed with the lyrics. there is hardly ever any change in the cadence of the words... which was acceptable in 1984, but i'm afraid if you are going to write a rap song where the emphasis is on the words, you can't just use the same flow over and over again with different words. it needs to be interesting and actively engage the ears, and make them want to hear what comes next... not be so predictable that i can finish the line for you. also the echo on the hook vocals was way too much.
The Capitalist Youth: i liked everything except the hi-hats... you don't need those. when it goes into just the bass drum... it should have just stayed that way, or at least something with less prominent hi-hats. good tune though, kinda weenish. i like it. also the rhythm guitar sounded a little dirty.
MENBAH!: is it just me or is this whole song run through a high frequency boost? there is not one lick of bass in anything, and it almost makes it sound like its being played through a broken phaser. its a cool song though, and arranged well.
Roymond: i almost voted for this song, but there was something that got under my skin. there are too many effects. i like the weird swishy sounds going on... but the guitar kinda hurts my ears. i like the "fight...into the night" part, that was really cool.
New Result: AHHHHHHHH!!! attack of everything cheesy about the 80's. its like the retarded younger brother of the beverly hills cop theme.
Josh Millard: cool song, i was also wondering about the egyptian with a capitol n until i read your post. but as with others, it sounded, and may have been, live. it was good and i would love to see it in a dark and smoky bar. however, it sounded unrefined, and like you and the band just said " that one sounded pretty good... f@#$ it, that'll do" ... well, it didn't quite do it.
i believe thats all of em... i hope i didn't make anyone hate me too much. thanks for all of your criticism of my stuff
King Arthur - You sir have been kicking major ass lately. Lyrics were clever, the story was smart & relatable. Enjoyed every second of it. (voted)
Ross Durand - Feel good, life lesson teaching, lyrically sound, title inspired song....well done. (voted)
Steve Durand - I was wondering the entire time..."How is this inspired by the title?" Of course at the end I got it, and it was kinda funny. It kept me entertained all the way through, and I was picturing a video for the song as I listened. You should go on Flickr & make this into a Picture Song. It would be incredibly easy. (voted)
MENBAH! - Fun...not great but fun. So simple & light that it sounds a bit like a theme song. I like theme songs...so this will probably grow on me with more listens. (almost voted for)
Jon Eric - Didn't really dig the song, but thought the vocals were some of your best.
The HATE Noise - I found myself really enjoying this, and you've got great flow. What the hell was up with 2:38 to 3:34 though? This was about to go on my MP3 player, but because of that stretch it found it's way into my trashcan.
Masterhyde - Not bad, but it's a song about a song. Been there, heard that countless times. It pretty much needs to be EXCELLENT if you're going to go this route.
New Result - Having listened to a few of your submissions in the past, I want to try something new with this review. I'm going to attempt to review your song without listening to it, and then see how on the mark I was by listening to your song afterwards. Ok...so hear we go:
"Did I just beat Contra? Oh, never mind it's New Result with another 8-bit sounding entry with no lyrics. I don't count the repeating of the title over & over as actual lyrics...sorry. Try putting some thought into telling a story, because the only thing your entries ever make me feel is the need to beat a classic NES game."
Now...to listen to the song...
w00t I did pretty well. If everyone else was that predictable I'd never have to listen to the fights before reviewing. That would save so much time. I think you moved from 8-bit to 16-bit, but other than that my original review is what I'd have said. You could have repeated "Noodles Are Slimey", "Michigan Sucks", "I Fear Chris Hansen" or any random statement and it would have made as much since with that music. *sigh* Change your name to "Same Result" already.
Architects Of Desire - Nice voice. Groove is alright...lyrics didn't grab me.
Bachelor Police - Maybe it was just because you ran out of time, but expand on the story a bit. The title was "The Middle Part", and it felt like you left out the middle part of the story...needed more. I know the guy says he missed the middle part, but the audience shouldn't feel like they just had a P&J sandwich without the P&J.
Bachelor Police - Good song! I liked the singing. The singer sounds a little bit like John Benjamin. I also liked the drums.
The Capitalist Youth - I liked this one a lot too. The singer reminds me a little bit of the guy from Neutral Milk Hotel. Yay banjo!
The HATE Noise - Generally I feel like Song Fight! needs more indie rock and less fucking nerdcore. This doesn't really seem to be nerdcore, but it's in my SF! rap genre bias territory. In spite of that, it's really well done (good beats, good rhymes, good flow), and I enjoyed it.
Josh Millard - I like the live sound and the da da da vocals. Good energy. I really like that funky note at the end of the third line of the da da da melody (when it's in unison with the voice and guitar).
Berkeley Social Scene - I am biased because I played bass on this. I think we had some good hooky riffs that were in 7/8 that don't really sound like they're obviously in an odd time signature, which is cool. I like how Ryan is really going for it in the vocals, and I like Ken and Glen's backups. I wish I'd had more time to be involved and get in on the vocals. At least I got to throw some slap/pop bass in for a change...
Let's respond to the nice comments, just cause I'm bored.
Lunkhead wrote:I voted for these songs:
Bachelor Police - Good song! I liked the singing. The singer sounds a little bit like John Benjamin. I also liked the drums.
Yay! I guess I need to brush up on my SF! to get that reference. Todd will be happy about the drums and thanks for the vote!
Spintown wrote:
Bachelor Police - Maybe it was just because you ran out of time, but expand on the story a bit. The title was "The Middle Part", and it felt like you left out the middle part of the story...needed more. I know the guy says he missed the middle part, but the audience shouldn't feel like they just had a P&J sandwich without the P&J.
In a way, you actually got the point of the song. I'm sorry you feel cheated though. The idea behind the lyrics was I'd give the beginning and ending to a vague story and "miss" the middle part. Maybe a bit lazy in retrospect. But I'm okay with just eating the bread when there's no time for proper sandwich prep.
BBABM wrote:
Bachelor Police: Not a bad song, but as with BSS, it is what i'd expect to hear if i saw you in a bar... not on record. everything is all mashed up, the backup vocals are not in synch, and the guitar has enough reverb to gag a mule... yes, a mule. i'd love to hear a super clean version of this song, cause it is incredibly catchy, and a good tune... but as is i need to be drunk.
I chortled at the "mule" line. Thank you for that. I'll see about a super clean version for you, will probably just turn into an acoustic ditty.
Stubby Phillips wrote:
Bachelor Police: The vox on this is kinda whack. It sounds like a plumber is singing. Or maybe a math teacher. Dentist? I don't know. It's uptempo and kinda happy music with sad lyrics. The dichotomy fucks with my head. The drums. They bang around too much. What's with the drums in this fight? It must be me. Think I'll concentrate on the bass from here on out -- oh, that's right -- I can barely hear any bass on these tracks. Damn you, boombox! Wait... I'm sorry, boombox. You get to pick the prize. (Boombox says you get one 'Ghost In The Machine' CD. Listen carefully to Mr. Copeland.)
Actually an engineering major is singing, but ever so close. Todd was just keepin it simple on drums, but we'll be sure to add some intricacy to this one before we take it out live. Thanks
Generic wrote:
Bachelor Police - Distortion!!! This sounds like a b-side from an early-90s Matador single. I like the garage band sloppiness of it. The vocal is mixed a little bit low - it's audible, but I think the song might be better served with the vocal more prominent. Nice guitar solo. This song is fine. Might be a little bit too long, but I'm still voting for it.
Ooh yea! A Matador reference, the boys and I are big into 90's college rock (and current label member Ted Leo). Think better stereo mixing would help the vocals. Thanks for the vote!
king_arthur wrote:R
Bachelor Police
Wishing things were a bit more in tune from the get-go. Wishing
there was more stereo separation among the instruments, too, it all
mushes together in the center and putting the BVs out to the side
just ain't the same. Not figuring out what the line about "the
middle part" has to do with anything else in the song...
I'm unsure of how to get more stereo seperation seeing as everything we record is mono. I can't spread the drums with our current method (one mic on kick and one overhead). Maybe spreading the guitars, rhythm left and lead right? Its something we're working on. Any suggestions?
Thanks for the reviews everybody. You've been helpful as always!
"I can't hear a thing,
'cause I've stopped listening!"
-BNL
Lunkhead wrote:I voted for these songs:
Bachelor Police - Good song! I liked the singing. The singer sounds a little bit like John Benjamin. I also liked the drums.
Yay! I guess I need to brush up on my SF! to get that reference. Todd will be happy about the drums and thanks for the vote!
If you were going to start digging around the archives to learn more about great Songfighters over the years, the songs of John Benjamin (aka The John Benjamin Band, aka JBB, aka JB, aka Abjure! and probably a few others I'm forgetting) would be a great place to start, for a few reasons. Aside from having a frighteningly consistent level of quality and a large body of work, he's also one of the guys who runs the place. 8)
"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
mr_lostman wrote:I'm unsure of how to get more stereo seperation seeing as everything we record is mono. I can't spread the drums with our current method (one mic on kick and one overhead). Maybe spreading the guitars, rhythm left and lead right? Its something we're working on. Any suggestions?
Yeah, that's exactly it. If you listen to my song on headphones, you'll see that I actually have the drums panned to one side and the rhythm guitar panned to the other - not hard panned (all the way out), but panned. And, actually, the bass is panned a bit to one side (with the drums) and the vocals a bit to the other (with the guitar) and then the fiddles are dead center. At least I think that's how I did it. Usually, I try not to have any two sounds panned to exactly the same place, and I try to think in terms of keeping the mix balanced in terms of types of sounds - so on this song, I had the clickety clack of the rhythm guitar balanced against the lightweight drum kit. And then I put the bass over with the drums because it puts something "tonal" on that side of the mix which is playing all the way through the song.
The common method for panning is to have lead vocal and bass in the middle and then the stereo drum track spread, but still balanced around the middle. Then the guitars or whatever other instruments are out to the sides a little or a lot.
I usually listen on headphones, and I like a lot of stereo separation so that I feel like I'm "in" the song, not just "on top" of it. YMMV.
Charles (KA)
"...one does not write in dactylic hexameter purely by accident..." - poetic designs
mr_lostman wrote:
Bad Boys at Bat Mitzvahs: The vocals are way too quiet. Todd says "it feels like he's droning rather than singing". This is really lacking a solid bass line. Needs to be sung with more conviction and needs a structure change somewhere to break it up.
i agree completely. i am working on getting a bass, and figuring out the interface with my computer. right now i have been doing all instrument, and vocal recording through a mic. the vocals were definitely lacking conviction, and volume.
TheCapitalistYouth wrote:BAD BOYS AT BAT MITZVAHS
sounds really unsteady
vocals aren't loud in mix
nice little chant thing
too slow
again... agreed. the chant was the only part i was truly happy with
king_arthur wrote: Bad Boys At Bat Mitzvahs
Nice drum intro, tho' when the song kicks in, it seems like it lacks the
energy of that drum bit at the start. Instruments and vocals are kinda
half-timing it. Are we ever going to get beyond these two chords? I'd
like to hear some (more) reverb on the vocals.
ty, i worked on the drum track for longer than it took me to write the lyrics, and do every other track. i guess it shows. when i wrote the music i didn't have any words, and i was thinking of doing some sort of soul coughing like rap/chant that would have been the right speed, but due to time restrictions and lack of good ideas i came out with what you have before you. i think you will like the next one better.
Generic wrote:Bad Boys at Bat Mitzvahs - God, I cringe just typing this band name. Pretty cool drum sample to come in on. The guitar sounds really thin, but it's decently-played. Lead vocal sounds like it's drowning. Way too low in the mix, but also muffled, somehow. I think it's some combination of inarticulate/unconfident delivery and poor mixing. There's a lot of repetition between about 1:30 and about 2:30 that might be considered for cutting. The "Deep now / caught in the middle now" coda is pretty cool, though; I wouldn't cut that. When it starts up, it's a welcome change to an otherwise samey song. But then that variation is allowed to repeat until it becomes stale. Just tighten it up.
haha... yes the name is meant to get a reaction. the emblem ive come up with is a skull with a propeller beanie, cause it kinda looks like a kippah. i try to use as few effects as possible because i love the way the acoustic guitar sounds naturally, and this may be the cause of this thinness... i will work on beefing it up in the future. the vocals i have no excuse for, they blow goats. they are as you said both inarticulate, unconfident, and poorly mixed. again something i have been struggling with for some time, especially the articulate part... half the time i can't even understand wtf im saying.
Thanks for listening. I sang on Berkeley Social Scene- I was trying to go with some John Fogerty action on the chorus, but i didn't have the range to pull off the melody that came to me. That was the first time I tried to really push myself since having a couple surgeries on my throat- so I am just thankful to be able to sing at all without long-term laryngial nerve damage. I did a few takes on the vocals, but by the third take, I was cracking quite a bit. Maybe there were enough well sung lines in all three takes to cut and paste one good take together, but we don't tend to have the time or inclination to do such things. I have a feeling that the lower octave scratch track that I did before turning up the Fogerty knob would have been more well-received. I will try to stay in my range next time.
I liked the bridge we came up with, but I keep thinking that I stole my guitar part from somewhere, but I can't think where... Glenn came up with the vocal delivery which reminded me of the theme song to MST3K with a bit of Devo feel to it. Lunk's bass line is funkadelic- who knew he could slap?
Glenn's guitar is good- he and Ken have a much more natural time with odd meters and time changes, so that helps inspire and carry me with my rhytm guitar playing.
Well, i'll work on reviews later, but I will keep at it, keep singing, and maybe my range and intensity will improve little by little. I hate to lose confidence now and not get there later- but it seems I may be prone to being the "least successful element" (read: ruining) BSS songs for some time to come.
AoD: Beck meets Magnetic Fields. I really like this. Nice harmonies. I wonder if snipping off the last .5 seconds of some of the vocal lines will make it tighter, less repetitive, and mo'betta. Heck- not repetitive... its hypnotic. yeah. voterded.
Single-guyee-Five-0: Jubilent- like maybe old Rainer Maria and some Pavement lovin. Can't complain. voit.
BB@BM: Turn up the everything. Tempo starts to drag at 2:00 for me. Bring Congos in earlier, guitar in later- the percussion does more for the song than the guitar for me.
BSS: Playing in seven is easy, its just two counts of three-and-a-half. My vox seem to be the big turn off. install_ryan_mutebutton.exe~ON!
Cap Yoot: Cool- very electronic sound even though its mostly live guitar playing for the beginning makes me give it my full attention to pick out the layers. So the mix is doing something good for me. I hear an arpeggiated keyboard part maybe for the dance remix.
Hayott Noyce: Serial Killer reference isn't shocking. This could be half of the d-bags on the Vegas strip's theme song. Did you just add "You're getting in the middle of some BS, dude" and submit already developed material- take as compliment, not accusation. I took the noise-break to be the part where the d-bag gets put in the back of a police car.
John Erik: I want you to listen to some Cat Stevens and then do one more take of the vocals. Pretty and sweet, but not quite pretty sweet.
Osh Kosh B'Josh: guitar solo doesn't do much for me- I don't have much to say about this one. I'll come back to it.
El Rey Arturo: The keyboard patch gotta go- but it is fun. Turn up the Texas Swing knob so it doesn't sound like a karaoke version of itself. Was that a fart solo?
L to the S to the Kaayyy: ur lyrics say it all for me.
Hyde, M.A.: Another self-referential song. Better than LSK. smiles all around.
Men! Bah!: falsetto do-wop part is ambitious!
Mike Lam (Viet spelling): lyrics are cliche. nice steady guitar playing.
gnu-result: zzz "song title" zzz
Reina del Cigarettos: cool bass tone, is that direct. more lectric, less acoustic in the mix for verse would work better for me cuz I get bored of the strumming pattern. Definitely worth developing more, and definitely worth tuning the guitar before recording the solo. Pretty cool. Maybe cut the guitar solo in half and throw in a fuzzy bass lick in there too.
Roxx Du Raxx: Soulful and preachy. Very relaxed and warm feel. Change some "we's" to "I" to reduce the preachy tone maybe. Nice effort. voot.
Roymond: feedback can be just about anything these days, can't it?
Steve DuSteev: This would be cool with a Muppet video. Cute. You can't wear dreadlocks. Nice harp playing. Need a couple alternate melodies in the verses to break up the monotonotiny.
Uners Tunion: More shaker. I like the chorus. washboard would fit here.
I am unable to listen to the fight, as it would serious cut into snorkeling time, but I truly appreciate the feedback folks have offered. Thanks everyone! As a result, I can't really vote for anybody. I will post some reviews after I get home next week.
roymond.com | songfights | covers
"Any more chromaticism and you'll have to change your last name to Wagner!" - Frankie Big Face
I am unable to review this week but wanted to call out my 3 favorites.
Architects of desire - This song flows like and urban soundtrack. I see this playings in the background while my rich euro-trash friend slips in and out of clubs partying with the upper crust in a haze of nights and days never remembering where city he is or how he got there. Nice jazz feel. I like the drum which is simple and sparse. The bass is great but others have already mentioned that. Kudos for the line "The middle part running through my head." I felt that was nicely integrated and suggestive while catchy enough to actually get caught in my head. The vocalists styling reminds me of the mellow 311 singer (Nick Hexum). The timing and execution were well done I don't see why others had any problems following the rhythm. The rhythm is straight forward just de-emphasizing the beat, maybe it is just the Jazz influences? I am gonna have to check out all of your previous submissions now definitely saving this in my playlist. A+ VOTE
Steve Durand - I liked how you "stood out from the rest" by using the play on middle part. I don't think the execution is very good but I am tossing you a vote because you made me laugh based on concept. B-
Hate noise - Name is appropriate in this case since everyone hated the noise section. Another amusing but not well executed song. It made me think of the "Beastie boys" on a beach in So Cal. Low-fi production normally puts me off but I thought it worked fine for the genre. Like everyone else I think the last bit was trash but I stopped listening after 3 minutes. I might save the song but I am gonna fade it out at 2:35. B+
Normally I post a review follow-up at some point prior to the next fight's deadline. I haven't had too much time to listen to the fight this week, though. Sometimes, you don't need repeated listens to stand out. In spite of all the other things that have happened to me and all the other songs I've listened to this week, Josh Millard's song haunts me with its quirky lyrics and lo-fi chanting. The HATE Noise is still stuck in my head, but man do I wish that skit in the middle had been handled differently. And MENBAH!'s entry remains infectious - and an excellent example of a genre I spend a lot of time trying to do well.
If I had another vote, I'd put in a ticket with those three names punched, but I enjoyed almost everything this week, so we're all winners.
"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
Last minute reviews! Horribly strapped for time this week, so I only managed to carve out a little time for listening, got through this stuff in two chunks with quick first-blush notes. Apologies to anybody who feels like theirs needed a bit of stewing to develop full flavor.
Architects of Desire: Loved those "oohs" after the verse, especially played against the funky underthings. Ramshackle verbed-out right-side snare on the fills also made me smile.
Bachelor Police: I reassign my "Guided By Voices" reference from last week's fight to you. Nice heads-up rocker.
Bad Boys At Bat Mitzvahs: I liked this but there was a whole lot more of it than it needed. Sitting at the end of an album or mix as a chillout outro that'd work in context but by itself it just sort of Keeps On Going.
Berkeley Social Scene: really torn on the high "waiting to start" line, I like that your voice is kind of going wooey there but it walks a line between awesomely pushing it and failwhaling. As someone with a not-so-reliable upper couple of notes, I may be overly attentive to that, though. Outro felt similarly just-on-the-edge-of-falling-apart.
The Capitalist Youth: banjo + distortion wash is a great sound. Really enjoyed this.
The HATE Noise: I'm starting to get the feeling you'll have a hard time NOT getting my vote when you enter. Wasn't really sure what to make of the freakout bridge, though, much as I dig the idea thematically on a couple different fronts. Pushing some serious radio-stations-in-mountain-passes nightmare fuel buttons I guess.
Jon Eric: I'm assuming the conspicuous phrasal emphasis on "Miiiid" etc. was an intentional move. Solid construction, didn't really grab me but I think that's just a random taste thing.
King Arthur: great singing, lyrics made me smile. Don't know whether to be charmed or bemused by the AM dial country meets cheap synth feel of the mix.
LSK: props for balls-out self-refentiality and sense of humor. I was laughing by the end.
Masterhyde: man I hate that specific piano sound. Can't even tell you why. Guessing it was just what was handy? Sits in the mix okay but those initial chords, agh. Apparently I feel strongly about this. Other than that, I really dug it. The chiding "you need a CHORUS!" call and response made me laugh.
MENBAH!: fun but didn't really grab me. Lead guitar sound was awfully reedy and thin.
Mike Lamb: something isn't sitting quite right with the vox in the mix on this; maybe the vox are just too dry and up-front compared with the wetter guitar sound. With such a minimalist arrangement that's distracting. Couple of rough wobbles of pitchiness in the vox as well. Like the idea and the guitar riff is fine, but it could be built out into a more complete arrangement with some movement.
New Result: Beverly Hills Cop II is on the phone and it something something something. Vocal sample is cute but there's just not that much going here structurally.
Queen Cigarette: listening order is giving you short shrift here I think because I like this well enough but it's yet another mid-tempo chill-ish thing. Well put together.
Ross Durand: great oldschool folker take. Vox seemed a tiny bit hot and felt like you were jumping on some of the phrases a bit early in an unsteady way, but that's just quibble stuff.
Roymond: loved the sound of this. That brittle little descending chord run on the clean guitar hits is keen (and only just reminds me of I think a Billy Joel song, make of that what you will), and the insinuation of the plodding BAM BAM BAM BAM meter into the chorus bits is really nicely effective. I found myself expecting you to tie multiple instances of repeat-echo-fade the second time that came around, one fading echo leading into a fresh one two or four bars later etc.
Steve Durand: Hair! This is cute. In a different universe this would be a Muppet Show sketch. Kermit's little nephew all rocking that harmonica solo from a shelf in a barbershop.
Tuners Union: That's some distractingly hard-panned drums, though I'll acknowledge I'm headphoning it so that makes it more notable. But I spent the whole song waiting for something to balance that out, and it's a bit better in the choruses where there's more going on (I went "ooh, shaker!" at one point) but all in all it just feels weird having it all off on the left like that. That said, the song itself made me smile.
Also, because I am a butterfingered idiot, I managed to vote with only some of my votes registered. Ross, Roy, and Steve all got robbed and should have gotten votes as well, but I don't want to vote a second time and make it look like potential shenanigans so I'm just going to own up to being clumsy here and hope that should it come down to making things right this'll be a nice transparent way to get the missing votes on the record.
Anyway, fun stuff again. Really digging this songfight routine.
