That was a lot of great music! I really enjoyed this round -- writing, recording, and reviewing. I’m trying to guess at the influences here so I’ll be blurting out things I hear throughout the reviews. You can tell me if I’m wrong or not. I asked for people to post lyrics in the lyric archive. If you already have, nice. Sorry in advance Sweeny Toad, I get a bit preachy in your review, but I stand by it.
Here, Atticus -- Cool autotune effect. Without any rhythm section or noticeable instrumentation, the a-capella maintains a good full sound. I can identify with the lyrics toward the beginning. I’m not sure if the “sound” lyric fits. I think it’s there to bring it back to reality, which I like, but maybe it still needs some effects besides echo.
Sly Eli - Great guitar licks and delivery. The vocal and lyrics on the last verse are the strongest IMO -- timeless subjects, good meter. Poor Judy G
-- consequences definitely got the best of her.
Brown Word and the Big Whine -- I like the arrangement. Simple but driving. To me this song has a lot of good attitude but I think it’s hard to express it vocally at the speed you recorded it at. Maybe 15% faster and the words could get a more forceful delivery.
Tomdg feat Rox -- Nice Strawberry Fields sounds. I think the choice of sample works well, as you’re trying to escape a really bland existence. It was a real journey. I was enjoying it for its rhymes and bounce and the common feeling of melancholy about Covid, then thought “oh shit is this some Van-Morrison/Eric Claption-anti-lockdown-bullshit? Then started to hear the hyperbole, and then the coughing, and ended with a hearty chuckle. Well done. Was that a little nod to Oasis’s “Don’t Look Back in Anger” on those mi-fa-so licks toward the end?
Pigfarmer Jr. -- Fun ditty. Sort of reminds me of that Steve Vai tribute to Zappa called “Fuck yourself”
Mellfire -- R.E.M.? If so, you nail it. That’s a good angle on what happened, and the break-in metaphor keeps it from sounding dated. Solid storytelling, arrangement, and melody. I just wish the Dems didn’t waste their time praising the “good GOPers” and instead took this moment to point out that this is the GOP. Sorry, you brought it up, I'm just engaging with it.
Sumner Sloane -- My favourite hook is the end of the verses: “you can….but you better not” although I’m not sure I completely get who the “you” is. I think it’s just generally telling someone to think for themself. Seems there’s a definite Trump and Kapaernik reference, as well as references to being aware of your social media history. I’m not a purist for everything having to be wrapped up with a bow though. I couldn’t figure out if you did the optional challenge, but there’s a lot I haven’t heard so I’ll see if anyone else has guesses.
LichenThroat -- Great riddles. It gets very meta. This was a fun listen - -so many little jokes: “Careful with songs that have brand names, Or nineteenth century guys named James” was delightful. Keep doing your thing, it’s awesome
Nomb Superbus -- The beginning feels like the intro to a science film strip from 4th grade, then morphs into an acid-laced 90s shopping mall R&B ballad! The silliness makes it very palatable. I’m not sure I would want to hear this if it were smoothly produced by someone with all the money in the world, without the microtonals and such. Will you post the lyrics in the lyric thread (link at the top of this thread)? I am re-listening and enjoying this even more the second time around. It’s a real treat. It makes me think of Ween’s “Freedom of ‘76”. “Mannequin was filmed at Woolworth’s, Boyz II Men still keeping up the beat”
The Magnetic Letters -- The harmonies are great. The way you sing “consequences” sort of reminds me of Gene Wilder’s “Pure Imagination” The mix toward the end builds really nicely. I love the layering. I’ll need to listen more to catch the story here, but it sounds cool.
Night Sky -- Is that another R.E.M. instrumentation with the bass line? The panned saxes sound good in my headphones. I think your voice wants to be in a higher key on this, but I’m not sure. A couple notes sound like you are bottoming out.
Phlebia -- It’s not my kind of music, so I don’t really feel qualified to pass judgment on it musically. The lyrics are full of interesting thoughts and observations. Were you sitting at the kitchen table looking around for inspiration? No judgment there. Also, it can be aggravating to keep finding russulas when you want a chanterelle or pine or morel, or something magic. But that faint blush on the stem means it’s a delicious shrimp, and better bring a few home than return empty handed.
Spite -- The backing track is beautiful -- is that a steel guitar of some sort? Some Cranberries sounds in there. Lyrically, it’s very cryptic. I can’t tell if the narrator acted and regrets it, or didn’t act and regrets that. I guess they let down their defenses and got hurt. Nice pace, very soothing sound and great vocals both of you.
Devastating Pop Machine -- This song conjures up a lot of images. A bit of a Jumpin’ Jack Flash loop. Compliments here: it makes me think of seeing local bands in local bars, and it feels good. Also has a Nick Lowe vibe to it (and other pop folks that I can’t pinpoint right now), very appropriate for your band name. It’s like when you buy a solo album from after a band broke up and you realize they kept doing cool stuff that you’ve never heard before. You hit the harmonies and the crescendos perfectly.
Fire Bear -- I like this matchup of uke and singing. Usually I can’t stand the cuteness of that pairing, especially when each strum is a new syllable, but the way you hold your vowels and stretch the words out gives it a whole different sound. The backup vocals are a great effect that further complement the uke and take it in a different direction. I think the lead vocals need to be further forward.
Duncan Martin (me) -- I really love Bruce’s early-career obsession with internal rhyme, so I try paying tribute to his November DUI charge and the ensuing fallout with that cheezy Jeep commercial in the Superbowl. The moral of the song, if I had to boil it down, is “(1) Fuckin' cops, man (2)Bruce, you’ll be fine, but maybe don’t drink and drive (3) Jeep, stop pretending you care, and what did you expect from a NJ rock star?” The sax wasn’t quite in tune, but I kept it in there for fun, same with the pandemic reference. I tried to play around with my casio drums a bit more with a few tom fills and congas. Finally found a fuzz effect for the end guitar. I realized later that the opening guitar notes are maybe a Neil Young sound from “Cortez” or something.
Sweeny Toad -- If I may soap-box for a second: I can’t say I like the focus on personal responsibility with addiction and obesity. Not that it’s not an important part of prevention, recovery and healing, but that stuff creeps up on people who are often in a medical, mental health or family crisis and it’s not always a matter of not foreseeing the potential consequences. Not to mention the massive corporate effort to get people addicted to cigarettes, junk food, booze, and especially opiates.
Lean To -- This is really fun -- a bit dizzying. Is it about Don or Mitch? I guess either works. The “Or stand your ground” line sounds like “But look at what you wear, and the way you comb your hair” from “Barrytown” by Steely Dan. I like the melodic choices. Some are unexpected and rich.
James Owens -- The arrangement is cool -- it has an overall sonic effect that is convincing. I think it could be mixed to feel a bit more in front -- almost everything sounds very panned. It gives it a cool chaotic feel but maybe a bit too wide. It has a similar feel to Dylan’s Love Sick -- kind of spooky minor driving sound. The close-mic vocals sound good and omniscient, but make sure to cut the volume just before and after each line to avoid mouth sounds. They don’t sound gross or anything, but I find that they kind of reveal the man behind the curtain.
Somewhere off the Left Coast -- Good mix. The instruments go well together. I feel like this song was forever in its introduction and needed to go to another place before it ended. It reminds me of Dan Mangan and Bahamas, and it’s a good execution of a sound that gets a lot of radio play around here -- it’s not a genre I listen to much but I think you pull it off well.
Thieves of Reason -- At first I thought this was about Michael Phelps and that time he took the big bong rips. Maybe it was. This was a fun break in the action. The vamping on Mission Impossible would be a sweet time to introduce the band and then go get a drink and have a piss during a show. I won’t be voting for this but I enjoyed it.
Hot Pink Halo -- Wow that started the instant I clicked on it. Are you riffing on “Oh Holy Night” at the beginning? I love the lyrics. Versus 2 and 3 are dead-on. It’s weird when people feel the need to describe domestic violence by its proximity to various dudes. You tell a dynamic story without going specific. I find that hard to do well, but you do it here. The revenge theme is nice and slow, which gives it a cool tormenting effect on whoever “you” is
The Gross Tones -- Those tones weren’t gross at all. This rocks. It has a great 50s/60/s rock and roll foundation. I think those backup vocals need to be shouted and then add reverb. I love it. It’s very ruckus and rowdy. Smashing through your fences, yeah
Brother Baker -- Now I want to eat Doritos and play Tony Hawk and get beaten by my friend who owns the console and plays it all the time. Iconic instrumentation indeed. Well executed. It’s obnoxious at times, but 3rd wave ska always was for me. The vocal harmonies are great, and the outro is super.
Heine -- I like the melody of the chorus. Sad song - I guess we are not meant to know what type of relationship this is that’s been lost. Syncopated drums might sound neat in the do-do-da-doo sections
