Re: Nur Ein XVII: Round Four "June Moon"
Posted: Sat Jun 25, 2022 6:54 am
Extr-ee! Extr-ee! Read all about it! Dan pulls his finger out and actually finishes writing some reviews
I think this was comfortably the hardest round to judge,as it feels like everyone is really raising their game now. This is borne out in every judge picking someone different for their top spot. Every single song had something enjoyable to it and it's disappointing that there are songs that I genuinely really like that I've had to rank low but I guess that's the way the Nur Ein crumbles.
Moss Palace
A clear winner for me. Everything is excellent from writing and arranging to performance and production. In fact, this might be my favourite song of the whole competition. It really feels like it should be on the Drive soundtrack. That little skip on "moon" in the prechorus is brilliant. That genre appropriate filter sweep towards the end is a great addition but I do think it could move a little quicker. This whole track makes me want to roll up the sleeves of my suit jacket (Miami Vice style) and dance like I'm in the background of a Yazoo performance on Top of the Pops.
Lowest Bitter
Yes, you've gone full chiptune! It's about time someone did! The production reminds me of Kero Kero Bonito, in that it could've been sampled from the soundtrack to a Zelda game. As is customary, your wordplay is absolutely on point. I think you're my favourite lyricist in the competition. Musically this is fantastic but the vocal recording does feel a little more rushed than in previous weeks. I love the meta concept to the lyrics especially the cliched moon section.
Elks of the Economy
Loving the synthy goodness on show here. This is a big step up from last week's track, in my opinion, mainly due to the more tasteful production. I like the subtle verse guitar work and that "oooh" totally steals the show. Delightful harmonies and all the little twinkly bits in the background really fill out the arrangement. I think this is possibly your best production yet. Once again, lovely Rhodes solo, though I feel this would work better over a drawn out fade out.
Stacking Theory
I love the laidback lazy feel of this but the melodies aren't nearly as memorable as some of your earlier songs. However, the whistling is a nice addition, the chorus gives a nice lift to the arrangement and the vibe you've created wins out against any minor niggles here and there. I feel like changing up the vocal effects on some of the sections would help keep it fresh and the ending is a bit too abrupt.
The Alleviators
As Pete mentioned in his review, this whole track feels really Pixies influenced (especially early on) - the Santiago guitar tone, the loud/quiet arrangement, Beka fulfilling the Kim Deal role. I imagine this would be a fun one to play live. Though this is a well made piece of indie-rock, there are a couple of niggles for me. I much prefer when you're trading lines in a duet to when one of you is relegated to backing vocals and the bridge feels like it takes some of the wind out of the sails momentum-wise.
Lunkhead
The drums sound really good on this one and the whole song is very well put together. The tried and tested loud/quiet dynamic works well. I enjoy the chorus but the "scolding" at the end sounds a bit unnatural. The lyrics feel a little more generic compared to some of your previous entries and the guitar at the end feels like you weren't sure where to go with the song. Still, a very enjoyable slice of alt-rock.
Nick Soma
I prefer your classic songwriter inspired stuff to this more pop-punk style but this is still a well crafted song. I would've like more of the ambient chords you use in the pre-chorus or have that section return later, though I can see why it's only there once, as it ties into the lyrics. The chorus is good but the middle eight doesn't excite me much. While I do like the lyrics, I feel like the no rhyming rule was actually detrimental to this track.
Cavedwellers
The guitar work at the start is great. In fact, this is brimming with excellent guitar work throughout (both tone and performance). I love that chorus melody line when you slide up into the top of your range. I've seen others mention how unnatural the "shit be cray" sounds within the context of the song, which I echo. I didn't really get drawn into the lyrics on this one but I can't really put my finger on what it is (sorry, I know that's not very helpful feedback!). I did enjoy the literary references though. I saw Owl mention Yeats but I think that was actually a Joan Didion nod. The question is, which of us is correct and therefore deserves imaginary literary bragging rights?
Glennny
This is a fun take on the challenge but, unfortunately, the joke does wear a little thin. I think maybe there needs to be less telegraphed rhyme switches and they should be dotted throughout the song, so that the listener doesn't know when they're coming. Production and performance are both good here, though I'm not sure about the very rocky solo in what is an otherwise quite folky tune.
Berkeley Social Scene
I love that twinkly intro; it's very Phil Spector (his music production, not his drug addled murdering). The vocals are very off-key for most of this and there are places where it feels like you haven't quite settled on what melody line you're going for. It's not a bad song and I think you'd have got through some of the earlier rounds with it but we're in the business end of the competition now.
Vom Vorton
I assume, what with having immunity, you'll just be chilling out this week, right? Oh no, you thought you'd just bust out this absolute gem! This would undoubtedly be duking it out with Moss Palace for top spot, were it being judged. Your drums are sounding better and better week on week. You'll be Jon bloody Bonham by the final! I'm genuinely struggling to find anything negative to pick holes in this track.
Rattlebox
Really great opening to this. It hits the floor running and doesn't give up. This feels like it should soundtrack the moment a "will they won't they" couple finally kiss. The organ (or at least what I think is an organ) needs to be a little louder. It's completely drowned out by the guitars.
Virgo Power
This feels like a very disjointed song, though the fixed version does improve this somewhat. The "saddest songs..." section is definitely the strongest. I feel like you could use that part as the starting point to expand for a rewrite.
Mandibles
This is a very dramatic song and the vocals are excellent thoughtout. It constantly feels like it's about to explode into some heavy guitar but never does. I love that harmony led section later on. It sounds like something you might find on a Laura Nyro album. Obligatory 4 Non-Blondes reference.
chewmeupspitmeout
What the actual f**k is this s**t!?! What year is it?? 1984 or sumfink!?! Why bother even doing a shadow if it's gonna sound like a motherf*****g piece of donkey w*****g full on s******w t**t p*****g all over the f*****g shop!?! Only joking. This is easily the best thing since Tchaikovsky.
I think this was comfortably the hardest round to judge,as it feels like everyone is really raising their game now. This is borne out in every judge picking someone different for their top spot. Every single song had something enjoyable to it and it's disappointing that there are songs that I genuinely really like that I've had to rank low but I guess that's the way the Nur Ein crumbles.
Moss Palace
A clear winner for me. Everything is excellent from writing and arranging to performance and production. In fact, this might be my favourite song of the whole competition. It really feels like it should be on the Drive soundtrack. That little skip on "moon" in the prechorus is brilliant. That genre appropriate filter sweep towards the end is a great addition but I do think it could move a little quicker. This whole track makes me want to roll up the sleeves of my suit jacket (Miami Vice style) and dance like I'm in the background of a Yazoo performance on Top of the Pops.
Lowest Bitter
Yes, you've gone full chiptune! It's about time someone did! The production reminds me of Kero Kero Bonito, in that it could've been sampled from the soundtrack to a Zelda game. As is customary, your wordplay is absolutely on point. I think you're my favourite lyricist in the competition. Musically this is fantastic but the vocal recording does feel a little more rushed than in previous weeks. I love the meta concept to the lyrics especially the cliched moon section.
Elks of the Economy
Loving the synthy goodness on show here. This is a big step up from last week's track, in my opinion, mainly due to the more tasteful production. I like the subtle verse guitar work and that "oooh" totally steals the show. Delightful harmonies and all the little twinkly bits in the background really fill out the arrangement. I think this is possibly your best production yet. Once again, lovely Rhodes solo, though I feel this would work better over a drawn out fade out.
Stacking Theory
I love the laidback lazy feel of this but the melodies aren't nearly as memorable as some of your earlier songs. However, the whistling is a nice addition, the chorus gives a nice lift to the arrangement and the vibe you've created wins out against any minor niggles here and there. I feel like changing up the vocal effects on some of the sections would help keep it fresh and the ending is a bit too abrupt.
The Alleviators
As Pete mentioned in his review, this whole track feels really Pixies influenced (especially early on) - the Santiago guitar tone, the loud/quiet arrangement, Beka fulfilling the Kim Deal role. I imagine this would be a fun one to play live. Though this is a well made piece of indie-rock, there are a couple of niggles for me. I much prefer when you're trading lines in a duet to when one of you is relegated to backing vocals and the bridge feels like it takes some of the wind out of the sails momentum-wise.
Lunkhead
The drums sound really good on this one and the whole song is very well put together. The tried and tested loud/quiet dynamic works well. I enjoy the chorus but the "scolding" at the end sounds a bit unnatural. The lyrics feel a little more generic compared to some of your previous entries and the guitar at the end feels like you weren't sure where to go with the song. Still, a very enjoyable slice of alt-rock.
Nick Soma
I prefer your classic songwriter inspired stuff to this more pop-punk style but this is still a well crafted song. I would've like more of the ambient chords you use in the pre-chorus or have that section return later, though I can see why it's only there once, as it ties into the lyrics. The chorus is good but the middle eight doesn't excite me much. While I do like the lyrics, I feel like the no rhyming rule was actually detrimental to this track.
Cavedwellers
The guitar work at the start is great. In fact, this is brimming with excellent guitar work throughout (both tone and performance). I love that chorus melody line when you slide up into the top of your range. I've seen others mention how unnatural the "shit be cray" sounds within the context of the song, which I echo. I didn't really get drawn into the lyrics on this one but I can't really put my finger on what it is (sorry, I know that's not very helpful feedback!). I did enjoy the literary references though. I saw Owl mention Yeats but I think that was actually a Joan Didion nod. The question is, which of us is correct and therefore deserves imaginary literary bragging rights?
Glennny
This is a fun take on the challenge but, unfortunately, the joke does wear a little thin. I think maybe there needs to be less telegraphed rhyme switches and they should be dotted throughout the song, so that the listener doesn't know when they're coming. Production and performance are both good here, though I'm not sure about the very rocky solo in what is an otherwise quite folky tune.
Berkeley Social Scene
I love that twinkly intro; it's very Phil Spector (his music production, not his drug addled murdering). The vocals are very off-key for most of this and there are places where it feels like you haven't quite settled on what melody line you're going for. It's not a bad song and I think you'd have got through some of the earlier rounds with it but we're in the business end of the competition now.
Vom Vorton
I assume, what with having immunity, you'll just be chilling out this week, right? Oh no, you thought you'd just bust out this absolute gem! This would undoubtedly be duking it out with Moss Palace for top spot, were it being judged. Your drums are sounding better and better week on week. You'll be Jon bloody Bonham by the final! I'm genuinely struggling to find anything negative to pick holes in this track.
Rattlebox
Really great opening to this. It hits the floor running and doesn't give up. This feels like it should soundtrack the moment a "will they won't they" couple finally kiss. The organ (or at least what I think is an organ) needs to be a little louder. It's completely drowned out by the guitars.
Virgo Power
This feels like a very disjointed song, though the fixed version does improve this somewhat. The "saddest songs..." section is definitely the strongest. I feel like you could use that part as the starting point to expand for a rewrite.
Mandibles
This is a very dramatic song and the vocals are excellent thoughtout. It constantly feels like it's about to explode into some heavy guitar but never does. I love that harmony led section later on. It sounds like something you might find on a Laura Nyro album. Obligatory 4 Non-Blondes reference.
chewmeupspitmeout
What the actual f**k is this s**t!?! What year is it?? 1984 or sumfink!?! Why bother even doing a shadow if it's gonna sound like a motherf*****g piece of donkey w*****g full on s******w t**t p*****g all over the f*****g shop!?! Only joking. This is easily the best thing since Tchaikovsky.