hoodmo - good shit. separate those guitars my man.
Moody Vermin - the swing on those drums is intolerable
Night Sky - goofy. not in the mood for goofy. nice bass compression and guitar tone.
Buddy Hinton - separate those guitars my man. I like the verse melody a lot more than the chorus. Like, I like the verse. I don’t like the chorus. I like the ahs. Makes me think of Lou Reed. I don’t like Lou Reed.
Cazaro Taro - goofy but dark. ok i’m into it. Devoish I guess, eh? It speaks to me. I was tempted to call the FBI on my sister. I mean, not because she was trying to take over the world via wiccan ceremonies, but just because she never ever got caught smoking in her room and I couldn’t get away with the slightest thing. So I figured she was a spy.
omg i have 23 of these to go. gonna get a lot shorter. ACTIVATE POP SENSIBILITY GATE
Sumner Sloane - not catchy enough
David G Harrington - kinda want that vox autotuned to infinity or something. just something. too sparse. need more synths. DEFINITELY AUTOTUNE THOSE BACKING VOX FFS
Tiny Robots - omg bass. mayyyybe a little too much. pretty song.
The N’Stuff - this is me and Ken (of Ken’s Super Duper Band n’ Stuff) and Mo (of Duboce Triangle/Shark Tornado).
Sir Chorizo - separate those guitars my man. I dig the vocals, and the melodies are nice and the harmonies are nice. I like the overall vibe. Nice one.
Messy Oily Elves - separate those guitars my man. Reminds me of the Weakerthans. I love the Weakerthans.
Panacotta Army - whoooo mastered louuuud. I mean, not in a bad way. There’s something wrong with that second chord in your backnforth verse progression… this is making my eyes cross somehow
Pigfarmer Jr - crush them bits. ooooh pan that guitar, pan it good. Needz mor hookz
Cannonade Streete - this is like a Bruce Springsteen impersonator with a loop station playing to nobody in a dead end alley in a midwestern city on miserable autumn night
Library Dogs - Sufjan Stevens called and wants his sensibility back. separate those guitars my man. nicely performed all around. I bet somebody will LOOOOOOVE this. Or they would if you separated those guitars.
Sweeney Toad - I like the chorus melody. The robot gets annoying to try to make out the lyrics through, although I get the impression maybe I don’t want to hear these lyrics especially… Would’ve sounded good with harmonies, or at least more apparent harmonies.
Brown Word - Kind of goes from loud enough to not loud enough. Mix problems. I like that shouty chorusey thing with the high shouty part on top.
Robyn Mackenzie - separate them guitars, yo. Good bass. Mayyyyyybe a little too much bass vs guitar levels-wise. I also wish I was nothing but feral. I reaaaally like these lyrics. The change/resolution in the chord progression that starts at like 2:05 and again at 3:11 is really satisfying. This is great.
Jeff DeSantis - pleasant enough that I forgot it was on and went to do other stuff on my computer.
heine - separate those guitars my man. chorus is pretty good, I bet it would be really nice live. If we ever get to have live music again. goddammit heine, fuck you for reminding me that I haven’t played a gig in a damn year.
Sly Eli - separate those orchestral synths my man. pretty nice chords but not as immersive as they should be. “I’m lost in this lovely eye” made me think you’re like a tiny dude wandering around in somebody’s sclera but not mad about it and I was like “gross”. The falsetto is nice, though switching from falsetto back down in the same line is a cringe moment for me always— and no, Extreme doesn’t get away with it in “More Than Words”. It’s awful. This gets better as it goes along for me, though I kind of wish the shuffle never started even if the chorus chord progression remains very attractive. The shuffle kicks off, but it doesn’t build and build, it’s kind of static.
Rod the Bunman - you separated the guitars, my man! Your vocal stylings are not to my taste, however they do remind me of Ron Sexsmith who IS to my taste, so you’ve got that going for you. I actually think you should lose the reverb on those vox. Put them way up front in my face, and I think they’ll be more charming. You’re not gonna benefit from any Balls To Monte style reverberatorization. That plucky guitar solo is pleasant, the palm muted chords work and the harmonics are sweet.
Duncan Martin - separate those guitars my man. Very visceral and evocative lyrics. I like. I relate to that cashier crush feeling. Pleasing chords and melodies, though it does lose momentum every so often. Probably should end a good 45 seconds earlier than it does. I dunno about that clarinet patch tho dawg. I’m pretty sure my Randy Jackson jokes aren’t landing any more, but I persevere.
James Owens - piano and stuff, let’s settle in for some serious songwriting here, ok lay it on me. The instrumentation sounds nice, but the vocals desperately need compression, a little reverb, and a little delay. They sound like they’re from a different recording than the instrumentation. Or dry out the instrumentation. One or the other, but not this. I kinda like the vocal melodies, and oh it’s getting louder I think, is it building to something? No? No. Feels like the kind of song you’d play the piano part to over and over in a darkened room just kind of zoning out and lost in your passion, which is fine, but I dunno if I wanna be in there with your stinky college ass. (See, in my scenario you wrote it in college and if you were like me hygiene was maybe not my first priority on some days, and I definitely played sad piano in darkened rooms often enough. Or just listened to Peter Gabriel in my headphones as loud as it would go.) I wish this went somewhere other than those dry too-quiet vocals coming back in. Gotta marry the two pieces via production.
Lichen Throat - little bit of a head bobber here, and makes me want to hear Stephen Merrit’s voice come in. But I’ve heard your stuff before and I’m a bit apprehensive for the vocals. I actually the processing, and it’s not the notes that you're trying to sing that are problematic with this particular vocal performance. But you need to revise those words and fit them into a melody that works with your instruments. The prosody is atrocious, and you don’t hit the rhythms of the nice instrumentation you’ve cooked up. Ok, at the end when you go low there’s the atonal throat I was waiting for. Hrmmm. I struggle.
Jonathan Mann - somebody said this reminds them of Tom Petty and I think it’s the first four notes on that harmonica, though there are a bunch of things in this that are reminiscent of influences. They all work together well. It’s a nice one. There’s some weird distortion effect on some of the bass on my monitors, or maybe that’s a floor tom or kick on the fills? Disconcerting. The melodies, all of them, are very attractive. Dunno about the tambourine tho.
Balls to Monte - separate those guitars my man. Typical BtM kick ass vocals. You do doubling so well, and always have the vox sit in the mix nicely. Melodies are sweet, in your inimitable BtM retro kinda style. It’s nice.
Paco del Stinko - Rockin’ off the bat. Your arrangements always have so many parts. Maybe not so many tracks, but they just feel complex. I’m always jealous of your bass lines. I’d venture to say of the things you do well, and there are a bunch, your bass lines might be the thing you do best. I wish there was like a loud singalong chorus in this somewhere, really make me feel like it’s XTC and I’m vibing to some downer dark verses before I find myself shouting and singing along to the chorus pounding on my steering wheel and getting honked at because I didn’t notice the light turned green.