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Loginherrsolera's 100 Most Recent Comments
| A Captain's Winter by herrsolera | 5 months ago |
| A year later, these are the Christmas songs included in this medley: Let It Snow We Wish You a Merry Christmas Good King Wenceslas The Christmas Song The Nutcracker Ballet - March The Nutcracker Baller - Dance of the Reed Pipes Away in a Manger The Nutcracker Ballet - Russian Dance / Trepak The Nutcracker Ballet - Waltz of the Flowers |
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| White Christmas 2010 by NorthPoint | 1 year ago |
| Nice and simple -- a Merry Christmas to you too, good sir. And since you asked for it ("Maybe i missed some postings but i have not seen many holiday tunes this season yet on icomp. I hope we see more soon, and hopefully posting this will prompt others to share some music for the season."  -- I posted my annual Christmas medley two days ago  |
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| [LiesToChildren] Road by Eidolonia | 1 year ago |
| This is an interesting, dynamic song -- it begins with the solitary lead guitar, brings in the rest of the band, and from there alternates between heavy, dark, light and slow. Given the flow of the album, I was expecting a slow, somber song at the end. But I like what was delivered even more. That middle section with the harmonized guitars is haunting. becwil mentioned the word "funeral" and for me that most closely characterizes this section, which is my favorite part of the song. It really does feel like it's moving forward, but with that dark quality that keeps the destination unclear. Congratulations on reaching this album's grand finale -- I know that these things feel like they progress at a snail's pace when you have LIFE battling for time with your interests and professional musicianship isn't exactly an alluring vocation. I'm sure you two have had a fantastic time putting this together because we, your fans, have certainly enjoyed the journey. |
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| [LiesToChildren] Void by Eidolonia | 1 year ago |
| Thematically, the song begins as the title suggests -- a silly observation, but I personally get a kick out of songs whose title and music connect instantly. It doesn't take long to decide that this is going to be one of my favorite songs from the album. Everything is great and in the perfect amounts, from the cosmic guitars to the actual riffs themselves and teleute's harmonized vocals. If there's one thing I'd change it's the slightly weak high-hat strikes during that breakdown. Maybe I was expecting something else, but it seemed too restrained. Maybe this has been the case for previous songs, but I like how this song, to me anyway, has no real discernible verse or chorus - it's a series of sections that work perfectly together to form a cohesive work of stone-heavy metal. Seriously one of my top picks for the album. Well done, sirs. |
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| [LiesToChildren] Space by Eidolonia | 1 year ago |
| "Energetic" is the order of the day -- even with the vocals in relatively low registers, this song makes me want to strap myself to the next cruise missile and aim for the heavens. I must admit that after listening to every track on this album, I was expecting a mid-song twist, where everything changes from uplifting and "happy" to sinister and bleak. Yes, you have made me musically paranoid. But here's the thing, this time I was pleasantly surprised when you kept it consistent. I was a big fan of the melody (both as a guitar and a keyboard towards the end) and therefore loved that it ushered me until the song's last second. Very refreshing - very many emphatic fist pumps to you gentlemen. |
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| Jingle Hell by Eidolonia | 1 year ago |
| Nothing like a little holiday headbashing to get you in the spirit -- glad to have revisited this! | |
| A Captain's Carol by herrsolera | 1 year ago |
| A year later, here is the tracklist for this medley: Joy to the World We Wish You a Merry Christmas (original) A Captain's Carol Here We Come A-Caroling It Came Upon a Midnight Clear O Little Town of Bethlehem (Redner / US version)* Silent Night Silver Bells I Saw Three Ships O Little Town of Bethlehem (Vaughn Williams / UK version)* *This is where I technically "cheated" - the lyrics to "O Little Town of Bethlehem" have been musically adapted for two altogether different melodies. One is based on Lewis Redner's song "St. Louis", which is known primarily in the US, and the other is Ralph Vaughn Williams' "Forest Green", which is most popular in the UK. I started last night (believe it!) on a new medley for this year. I can only hope that it turns out alright and doesn't disappoint. Onwards! |
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| [LiesToChildren] Sky by Eidolonia | 1 year ago |
| The Shelley metaphor was appropriate -- this is definitely a Siamese song. Truth be told, I was waiting for a reprise of that exquisite clean strumming from the beginning, the outro notwithstanding. Perfectly recorded and so, so warm. But I can't fault the song for not repeating itself -- what you've delivered is standout as usual. I'm impressed with your ability to go from light to dark at the drop of a hat, only to revert back to soaring melodies. My comment from the previous song still applies - towards the end the guitars were starting to mimic a mob (albeit not an <i>angry</i> mob), where it was difficult to pick out the main thread, if there was one to be picked out. But that just serves to add to the song's celestial quality, so I suppose it works! (Applause) |
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| [LiesToChildren] Ocean by Eidolonia | 1 year ago |
| Since it's been such a long time, I went back and listened to the first five tracks on "Lies to Children" before tackling this one. Right now I'm halfway through "Fire". Let's finish. (Random comment: I had forgotten how truly beastly "Mountain" was) Ooh, love those balefully low registers on the bass. I can tell that the uplifting feelings brought out by "River" are receding. I like how clean the guitars feel, despite that delightfully muddy riff. The vocals remind me of Agalloch's clean choruses (I know - I should stop comparing you to Agalloch - it's like my dead horse of critique, but alas, I can't help but be drawn to the occasional similarities). If I thought the change at 3:08 was a headbaanger, then my head fell off my shoulders at 3:19. I love the echoed harmonized guitars - they smack of Iron Maiden's triple guitar onslaught but with a lot more ambiance. It's a very busy section, no doubt, and I'm playing games with my hearing to try and make out the different guitars. Another brilliant effort -- glad to hear this juggernaut is once again up and moving. |
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| Ogigia by Etinto | 1 year ago |
| Ah, the "epic" appears. I loved the beginning, the buildup. The base was a great bed on which you developed the rising crescendo -- however, the crash cymbals were a bit weak. I would have liked a better MIDI sound to really punch those cymbals through. I like the re-build up that happens in the song's "Second Act", if you will. New melody, new structure, add in a vocalist, and once again you're luring the listener into your world. I like the strings beneath the vocals -- and you do a good job with the harmonies. I also like how the lyrics become like a creepy lullaby after a while. Lyrically and melodically, they become like a morbidly lulling children's song, especially with the metronome-like beat keeping meter in the background, as if the rocking of a cradle. Then it stops again at 7:00, with a lead guitar escorting us to the song's lugubrious end. Great stuff, gentlemen. Except that the oboe-like instrument at 9:29 is too cool to just have at the end. It's also a bit too loud - I would have panned it to one of the speakers and lowered the volume just a bit. Bravo. |
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| Forest Fires by Etinto | 1 year ago |
| Once again, you're channeling a bit of Travis Meeks and Days of the New - namely with the repetitions of "crazy to fear" and "no sense to care". There's something about those repetitions that remind me of DOTN. I like how you guys build up urgency and energy in the chorus without drums, distortion or overdoing the mix. The new-age elements that enter the song around 3:51 are an interesting choice. I wonder if the song could have gone in a different direction there - but we'll never know. |
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| Nutshell (Málaga Remix) by EventHorizon | 1 year ago |
| Two thumbs up! Love the piano taking over for lead guitar duties and the new-age strings layering the song's close. This song always reminds me of Rohrmoser and Ananda (and you as a 9-year old), which are all very good things. Great tribute to a most excellent song. | |
| Everyday Current Electricity by Etinto | 1 year ago |
| It's great to know that hidden in that vast talent for avant-garde music is the ability to churn out a radio-friendly hit. A few days ago you asked me about Collective Soul -- did you listen to them? Because this song reminds me a lot of "The World I Know", and I suspect that maybe it influenced the songwriting process. I love this. It's soothing, nostalgic, and even though this is the first time I hear it, I am instantly familiar with it and feel comfortable. I like the mid-song breakdown - it's unexpected but very delightful. Even though it twists and turns a bit, it is always friendly to the listener. I like the two-octave vocal harmonies - they really add a sense of togetherness and community to the piece. Great guitar strumming - very evocative and full of a simple, yet rich character. "Glow", eh? I would say more like "Lazarus" by Porcupine Tree. |
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| Nutshell en el fondo by Etinto | 1 year ago |
| Me acabo de dar cuenta (independientemente de tu comentario) que es "pieza Nutshell" y no "esa noche". Gracias por la clarificacón. | |
| Nutshell en el fondo by Etinto | 1 year ago |
| Great stuff, you two. I love the buildup, just to break down at 1:12 to that solitary guitar line, allowing the song to re-build itself back up, piece by piece. I would have liked the doubled vocals to include some harmonies -- there are many opportunities where that would have really blown me away. But what really did blow me away were those eerie chants -- where did they come from? Who did those? Because I love them and they create the perfect ambience and texture to match the otherwise minimalist approach taken to the rest of the song. That sludgy guitar is quite ... well, sludgy, and in a good way. The lead tone is a bit too high on the chorus, by comparison. It's like a grunge band and a metal band coming together -- the end result is a little bizarre, but not jarring. I'd recommend reaching a midpoint with the two in future releases. Finally, the echo ("esta noche" ) during that final chorus is extremely good. You guys are definitely finding that sound and it's working very well. Keep up the good work, gentlemen. |
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| [LiesToChildren] Mountain by Eidolonia | 1 year ago |
| The beginning harmonics definitely remind me of "Terria"-era Devin Townsend. However, once the guitars and keys kick in with the vocals, I am instantly drawn back to Green Carnation circa "Blessing in Disguise". By the by, if the only exposure to Green Carnation thus far has been "Light of Day, Day of Darkness", then do move forward in their catalogue because they are truly spectacular. Speaking of, this song is crazy good. I love the keyboards lurking in the background, specifically the pyschadelic short circuits that rise above the surface around 3:30 -- they add extra menace to that sinister riff. Love the light-to-dark progression of this song. Really catches you off guard in a great way. This album is going places, gentlemen. |
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| [LiesToChildren] River by Eidolonia | 1 year ago |
| I must admit the beginning had me a bit worried, mostly because it starts like a pop-punk riff. But as soon as the rest of the band enters, it becomes something else ... but only slightly. Forgive me for the comment, but this song, so far, would be the radio-friendly "hit" of the album. It's straightforward, melodic, and takes few unexpected turns. With it's short length, it doesn't even have to be edited. At first, I thought the change at 1:41 was going to signal a completely new direction, but it only served as a brief breakdown. This is a good thing -- a truly progressive album can't be all twists and turns like it has been thus far. Still loving this. |
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| At The Bottom by Etinto | 1 year ago |
| The intro of this reminds me a lot of "Exit Music (For a Film)" by Radiohead. It's very intimate in its desolation and really begs emotion from the listener. This is both from the soft vocals to the light, almost self-conscious guitar strumming. I agree with pharma -- I like the whimsical guitar solos. I can also hear the Stephen Wilson / "Time Flies" influence towards the latter 1/3 of the song. You're definitely working on your pitch too -- you're hitting the right notes and sustaining them at appropriate levels. As far as improvement goes, I think the drums are a bit dry and need some revision in terms of meter -- they sound a bit forced and off beat a few times. You can try adding a bit of reverb to them or tweaking with the EQ so they're not as upfront in the mix. |
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| [LiesToChildren] Earth by Eidolonia | 1 year ago |
| Is this the same vocalist as in previous songs? He definitely has enough versatility to sound like the older singer of "Fire" and the younger singer of this piece. I like the keyboards in this song a lot -- especially the etheral ones that rise after the vocals during the chorus. I like this piece -- it fits very well as a transition song between the monolith of "Fire" and whatever is to come. If this were an album (and not songs uploaded to a website), would you remove the long gaps of silence at the beginning and end of each file to make the whole more cohesive? Enjoying this a lot thus far. Carry on, good sirs. |
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| [LiesToChildren] Fire by Eidolonia | 1 year ago |
| I'm definitely getting a Promethean vibe from this song, and your description of the song confirms this. Is the rest of the album going to have this theme, or is it just this specific song? But alas, all thematic discussions aside, can I say how excited I am for the rest of this album? The fact that it's being released to me in such a serial fashion is delightful because it awards me the opportunity to hear it piecemeal, which is a completely new experience for me. Love this piece and its progression. The song becomes truly epic once the guitars kick in, accompanied by the rapid synth melodies -- truly amazing. At that moment I know that I'm going to be treated to something special. But it's not the only titillating example of such grandeur -- what can be argued as the "apex" of the song at 4:44 is hair-raising. I can't wait for the next installment of this saga. |
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| Deeper Than Colors by Etinto | 1 year ago |
| Muy buena -- la melodía principal es muy sutil pero suficientemente emotiva para ser totalmente deprimente. Tu voz la acompaña con un nivel apropiado de indiferencia - taciturno sin sonar perezoso. Me gustan los elementos electrónicos y cómo los mezclas para lograr una pieza dinamica e interesante. Mi única sugerencia es que le pongás más atención a la voz -- muchas veces no lográs las notas correctas entonces termina sonando un poco "flat". Ayuda tocar la melodía primero en piano y luego cantarla para que siempre estés cantando las notas correctas. Con esta pieza terminás album nuevo? |
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| [LiesToChildren] Horizon by Eidolonia | 1 year ago |
| (mind explodes) Could it actually be that Lies to Children is being finally released, after such a long time waiting? I hope so. And what an opener! It's the perfect opener for a concept album: a teaser, if you will, showcasing all the elements that one hopes will happen in later tracks. Did you get shorter after recording this? Because the merciless weight of those guitars must have crushed you down a few inches. I couldn't help but sit there and marvel at how drenched they are in heaviness -- and it's not excessive. Your dedicated, disciplined, almost auto-didactic approach to finding that perfect sound is paying off in spades with this track. The one little nit I'd have to pick involves the vocals from 1:24 to 1:30. On my headphones, that center voice is much too close to me, almost overpowering the rest of the recording. That's it though -- the rest of the song is tantalyzing and has me eagerly anticipating the next track. I trust we won't have to wait three years for it! Rock. |
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| The Thing in F by Ignoramus | 2 years ago |
| An interesting siamese piece ... I liked the acoustic guitars at the beginning (superbly recorded) -- but the choice of drums doesn't sit perfectly well with me. I think they gallop far too quickly for the lush guitars underneath. Maybe it's the simple 4/4 beat that turns me off, but I think they take away from the string performance. The middle part is lovely. I like how it's equal parts soothing and unsettling -- soothing in intensity and volume, but unsettling in its foreboding. Then, out of nowhere, it all comes crashing down with some devastatingly heavy guitars. Love to hear this from you. Great effort, overall. I'd change up the drums for act one, and that's it. Rock on, good sir. |
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| Emergence by Eidolonia | 2 years ago |
| Well, many happy returns good sir. I like this piece a lot -- there is definite urgency in the staccatos and the rising french horns aptly serve as a warning of sorts. "Warning" is probably the wrong word, but you get the idea. Though I like the underlying notes, holding everything together, I know you could benefit a lot by adding a string staccato track but one octave lower. I've found in my symphonic musings that it always helps make the strings sound fuller and richer. Glad to hear some new material for you. Wish I could say the same about me. Enjoy the glorious beginning of your fourth decade! |
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| Sorrow (acoustic Bad Religion cover) by PinkFreud | 2 years ago |
| Bad Religion was one of those bands that eluded me. Though I was into punk rock and my friends swore by them, I never got into them, not out of taste but circumstance. I simply never got around to buying an album or borrowing it from a friend. Very late into the game, I heard "Sorrow" and knew that they were a definite musical force. This song captures that essence. I think it's the fact that it's a punk song with a definite folksy edge, which is emphasized in your cover by the acoustics and slide solo. The vocals are great - perhaps a bit too loud in the mix, but very subdued and appropriately delivered. Great stuff, gentlemen. |
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| Master of Puppets (acoustic Metallica cover) by PinkFreud | 2 years ago |
| I completely agree with Eido's comment. The complete stylistic change reminds me a lot of the Celtic Tribute to Metallica. The essence of the song is there - the melodies, the lyrics, but brilliantly transformed into something completely different. Syllibethal's comment is also spot-on; Stephen Wilson would be proud of this artistry. But all this stylistic talk aside, that is some superbly recorded and performed acoustic guitar. I was wow'ed by the tightness of the triple (or more?) guitar work in the middle. You definitely nailed not only the balance, but the power in that classic passage. Brilliant stuff, Mr. Freud. A tip of the hat to you, good sir. |
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| Jingle Hell by Eidolonia | 2 years ago |
| Ha! What a phenomenal, rocking tune - a true mixture of Christmas and metal, done with energy, passion, and best of all, real guitars. I love the ominous beginning - it gave me the impression that you were going to give Christmas a sinister turn, as if the ghost of Christmas Yet to Come were giving us his own rendition of the holiday season. Did you program the drums yourself (noticing the 'No Loops' specification)? If so, they're powerful and very well-arranged. Since I am such a huge fan of "We Wish You a Metal Christmas" and this current song, then I'd be very interested in hearing what you could do with the original song you were planning on composing - all notions of competition or limelight be damned! Again, great song, going into heavy rotation. 'Tis the season! |
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| The Subtle Movements of Old Pictures by Etinto | 2 years ago |
| Wow, this is quite the chaos you've built up. I'm impressed with the command you have over the entropy here. I like to bundle my songs up neatly to a fault that I find it impossible to make something deliberately jarring like this - very cool stuff. This is very tempestuous - like a ship being rocked back and forth by an unforgiving storm. The percussion even sounds like waves crashing against the mast. Very eerie, but also very intriguing stuff. |
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| Improving The Shark's Makeup by Etinto | 2 years ago |
| This could easily be the orchestra for a modern, independent movie about the daily travels of an urban youth. It begins by waking up in a dingy apartment, and slowly he gets his stuff together until he's walking the busy streets of the metropolis. You should start each string's note slightly ahead of the meter, because they sound like they're an 1/8 of a second late. Stick with this structure whenever you use strings, because they have that delay. This is a very curious and playful tune, which is just what I've come to expect from your catalogue. |
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| State of the Art by DaveM | 2 years ago |
| Loving the angry turn on this one. From the gritty vocals, to the delicious riff that drives the whole song and then the cataclysmic solos - I'm a fan of the metal edge you've given this song. There are some Maiden influences, no doubt, along with throwbacks to classic rock - always a great combination. Well done, gentlemen. |
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| Liar's Oath by sonsofhypnos | 2 years ago |
| I'm a fan - it's fun how a simple groove can let so many different vocal styles blossom. And is that some autotuning I hear? Nice to see the sons doing what they do best - surprise me with some hypnotizing tunes. My favorite part is near the exact middle, where Greg's voice is double-tracked and he sings with himself at a low key. It's so intimate and disarming that I can't help but just nod and enjoy the melody. Great stuff, as usual. Brilliant collaboration, gentlemen. |
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| A Captain's Christmas by herrsolera | 2 years ago |
| A year later, here is the order of the songs: O Holy Night We Wish You a Merry Christmas A Captain's Christmas (original melody) Ding Dong Merrily on High Angels We Have Heard on High Deck the Halls / 'Tis the Season The First Noel O Christmas Tree Do You Hear What I Hear? Jingle Bells Yesterday I began my third annual Christmas metal medley. Here's to hoping it's not complete holiday garbage. |
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| Apocalypse Eyes by sonsofhypnos | 2 years ago |
| Like the old-school rock mixed with that blues-y twang and almost tribal percussion and vocal grunts. The song plays between being a jocular tavern song to something more primitive, which I really like. Great vocals all around, and a very skilled production. Glad to hear you broke composer's block or finally found the time to record (or both?) -- I'm struggling with that slump, but mostly because I've redirected my energies to other fields for the time being. Here's to hoping the rut ends soon! |
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| Why Shadows Bestow More Meaning To Light by Etinto | 2 years ago |
| There's a definite "Moment of Truth" quality to this song. The repetition and buildup give it a sense of immediate urgency, one where an important decision must be made. Is it "Loops Only" or did you play around with it? It sounds like you did. The light/soft motifs are interesting - they're not exactly bright/dark, but there are definitely two sides tugging at each other. Although if I were to make a guess, I'd say the song goes from depths to heights, from dark to light, because the end, despite the drums, begins with a heavenly movement -- but then dips a little into the uncanny. Very interesting - I like this musical fugue of yours. |
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| Remember The Time (Michael Jackson cover) by spootane | 2 years ago |
| I don't know anything about the sensibilities of crafting pop-music, so hearing this is impressive. You definitely filled in the right nooks with the right sounds and nailed a telling cover of one of his biggest hits. I also appreciate that you composed an abridged version, because the original is like 7-8 minutes long. Nice use of auto-tuning at the end (I put aside my distaste for auto-tuning for you). Nice stuff. Aside from his untimely passing, what inspired you to do this? |
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| Dreams (Herrsolera Mix) by DaveM | 2 years ago |
| Ha! I didn't realize this was up here! This is what happens when you take a slight break from iComp to run a marathon Thanks for the comments, everyone. Dave M has a remarkable ability to craft a great song with just his guitar and brilliant pipes. Adding some strings and experimenting with his two different versions was fun but challenging - I didn't want to ruin an already great thing! Thanks for uploading this song, Dave. Glad to hear it made it out to the rest of iComp |
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| Catharsis by Ignoramus | 2 years ago |
| Great stuff, Mr. Ramus. This was another great thrash offering on your part. At first, the palm-muted riffs seemed like they weren't entirely in sync with the drums. However, I love the open power chords about 1/5 of the way through (again around 2/3 of the way through) - the accompanying lead is so tasty. Love the double-bass power-metal beat - I haven't heard much of that in your stuff, and I like how you use it selectively (unlike most power-metal bands, who use it ad nauseum). I thought it was an interesting choice to silence the song about 1/2 way through and then pick it back up -- I wonder if I had done that differently so there's not such a stark interruption. But upon a second listen, it just sounds right. I also admire the end - most of the time, a relaxing acoustic section is used as a valley, but here it's like the wooded path that leads from the bramble patch. Good times. Definitely cathartic - got a lot off your chest? |
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| Denied (demo) by spootane | 2 years ago |
| PinkFreud hits the nail on the head - any 10-second section of this song could be expanded into its own song, which is just a testament to your creativity. I'm a fan of the synth choirs - they usually sound so fake it hurts, but here they add just the right amount of dark ambiance to an already sinister track. Also, I'm a fan of the ripsaw tone you gave those guitars. They could cut through steel and certainly have enough rage in them to do the job. There are a few times (most notably around 2/5 of the way through), where the distorted guitars cut out, and you can still hear some of the amp/pod fuzz coming through right before you cut the track out completely. Obviously, this is still a WIP, but still - don't ignore that. Keep the rock alive. |
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| Save Me by sonsofhypnos | 2 years ago |
| A definite surprise (though I'm used to those by now). So wonderfully upbeat and playful - the melodies are ridiculously catchy. I will definitely be humming this one for the rest of the day. I can't quite pinpoint what it reminds me of ... perhaps a faster "The Nurse Who Loved Me" (A Perfect Circle) comes closest. But regardless, you have done well by me and by your fans with this song. A new favorite, for sure. |
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| The Chasm by Ignoramus | 2 years ago |
| I agree with Mr. Millard. This song has all the hallmarks of a great Ignoramus collaboration: rich guitars of all kinds, a great buildup, and compelling melodies. Many kudos to Mr. Kane and his heavenly pipes, and props to Mr. Moore's knack for putting together great beats and transitions. I'm a fan, as always. | |
| Carousel~ final mix by AllenDean | 2 years ago |
| Oh, Ravens hit this right on the head. This definitely harkens back to "Facelift"-era Alice in Chains, notably the heavy sludge of "We Die Young". This is a true rocker, Mr. Dean. Many kudos to Mr. Cihon for that devastating solo too. Rock. |
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| Summation by Ignoramus | 2 years ago |
| How this for a clever title: "The Sum of all Gear"? I liked how the heavy riffage just comes crashing down on the introductory passage. It's as if a child were playing in an unkempt closet, when suddenly a shelf full of dirt, sawdust and hungry wolves falls on him. After that, it's all danger, and it's all heavy. I like the calm after the storm, and then the inevitable hellish buildup afterward. And with some unique percussion thrown in for good measure during the towering finale. A definite overtüre of your metal inclinations, and a superb stand-alone creation. Glad to hear you're still rocking out, good sir. |
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| Fish Bait by Etinto | 2 years ago |
| First off, I think you should have started the song off with the percussion / singing. The beginning is a bit slow and takes a while to fully kick in - the listener might lose some attention during the buildup. The guitars are ominous and the vocals ghostly (and sound a little like Travis Meeks at times). The layering is very well done and is full of subtle additions that show you two work very well together. It's also great to hear some live instruments from you guys. Keep up the good work, gentlemen. |
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| Flag Carrier [New!] by Ausdude | 2 years ago |
| Very interesting. The beginning gives me an orchestral impression, like a gentle giant waking from a long slumber. Then the guitars kick in, and I get a death-metal / gothic feel. Once the vocals enter, the song takes on a more nü-metal vibe. But the breakdown after the first wave has a lot of old-school thrash riffing. This is quite the chimera you've created. Melodic harmonized vocals, screaming, rap-rock attacks, crisp distortion alongside muddy guitars, staccato punches ... it's as if the song were <b>so</b> angry that no single genre can contain its rage. There's always that main melody holding everything together, though, and I like that. I think the clean vocals are a bit too loud in some areas, especially when stereo-panned. Aside from that, I like the buildup, the changes, the surprises and the animosity behind each movement. Hope things have picked up since composing this disturbing epic. |
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| Sx7 - Between Time & Space is Forever by offbalance | 2 years ago |
| This is an example of a surprise melody. The title suggested something psychadelic and spacey, in the vein of "Sands of Time". Instead, I was treated to this delightfully folksy melody, led by a very warm acoustic guitar and a reassuring voice. You really took the "simple truthfulness" and gave it a fitting musical identity. Love that harmonica, by the way. Now, if only I had a front porch and a view of the grasslands to match this song ... |
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| Sx7 - Sands of Time by offbalance | 2 years ago |
| This is so soothing. I love the synth bed on which the song comfortably rests - it's easily overlooked, but so important to the overall composition. Great guitars, from the thin clean guitars keeping pace to the elegantly and tastefully distorted crunch that comes in the latter half. This is a very organic piece, and I like where it's going. I do believe I'll like this saga / suite. |
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| Sweet, Sweet Rain (Gene Loves Jezebel cover) by VertigoSteps | 2 years ago |
| Truly ballsy. I like the lead guitars, weaving in and out of the verses, in addition to the vocal harmonies in the chorus. I have never heard the original song before, and it's a shame, because it's quite the rocker. Nice to hear some "new" material from you, good sir. Keep the rock pulse beating. | |
| Tell Me Why by cuddabrown | 2 years ago |
| I don't normally venture into mournful, melancholic R&B, but the "New Age" tag drew me in. Great melodies, and lovely singing. I'm a fan |
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| Singing For Godot by Etinto | 2 years ago |
| Interesting - moving into the funk category, are we? But there are also hints of electronica, post-rock, and even some indie. It's like a mix of Incubus, Chemical Brothers and Postal Service. Perhaps a bit too structured to follow with the Beckett theme, but still a departure from your recent work. I do appreciate the common theme (the introductory acoustic guitar) uniting the song, allowing for other instruments to provide fitting layers. Sadly, I'm using IE, which doesn't let me read the lyrics, so I can't comment on those for now. The twangy guitar is a bit loud compared to the rest of the composition and jarrs me a bit when it is re-introduced. Otherwise, the song is very well put together and its pieces intuitively chosen. I especially like the latter third. Well done, sirs. |
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| Hallelujah, Amen by rsorensen | 2 years ago |
| Love the feel on this one. Your voice comes across as a more accessible Thom Yorke, with the music beginning like an upbeat "Exit Music (For a Film)". The guitars were beautifully recorded, and the thin percussion is so apt. I love the crooning "oooh" right after the first chorus, bringing us back to the original melody and reminding us of the pristine melodies you have created. Your acoustic pieces are always a treat, RS. |
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| Outpost Rescue by Balok | 3 years ago |
| Ah, the great gap between classical and electronica is bridged here. Nice horn staccato's, providing forceful melodies above the ethereal strings. I like how you keep it very melodic, then break it down into something eerie and unsettling, only to bring it back (rescue it, perhaps?). Brilliant stuff, as usual |
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| This Heart of Mine by rsorensen | 3 years ago |
| The verses remind me a lot of "Blow Up the Outside World" (Soundgarden), namely in that alternative/blues combination that boasts a calm facade, while suggesting a troubled depth. You have a mastery for melody, sir, and this song continues to illustrate that talent. I love the line "But I can't get you out of my disgruntled head" - packs a real punch. I'm definitely giving this one repeated listens. |
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| Sorry by rsorensen | 3 years ago |
| Ian's right - there is a lot of Cobain in here. It could be a bias (I'm currently reading a biography about him), but I doubt it. The paradoxical combination of lethargy and emotion are in your voice, each eager to take over the spotlight. Once the guitars kick in, and the gritty rawness takes over, I feel like I'm 15 again, listening to "Aneurysm" for the first time. Also, that is one fantastic cello addition. I must have it! I love it so much, it makes me sick. |
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| Reggae de Tinieblas by Etinto | 3 years ago |
| This song has a stream-of-consciousness type construction, where the lyrics and music flow as if part of an impulsive drive to get emotions and opinions out. The song definitely has structure, but in spite of it, it feels whimsical and spontaneous, mostly because you decide to move from one melodic thread to another and not stick to the conventional patterns. Nice to see you going out on limbs and trying out new sounds and lyrical ideas. Keep up the good work, kid. |
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| The Descent by Etinto | 3 years ago |
| Very interesting. There's a sense of desperation at the beginning ... be it because of slight issues with pitch and timing, it seems like the singer is unaware of the instruments around him. This aloofness has interesting effects on the music. After the breakdown, when the piano and the synths enter under more melodic singing - it feels like a boat came by to pick up the marauded, like we were no longer lost at sea. But that's a mere illusion, right? It feels like a mirage, because we return to the pounding rhythms that characterized the first section. Then the sound of lapping water, and we are once again submerged underneath the tempestuous surface. There are great movements here (literally, the song sways to and fro from delicate sways to violent jerks). Glad you decided to clean it up and upload it. Great collaboration, gentlemen. |
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| Mr. Nice Guy by AllenDean | 3 years ago |
| I'm hearing definite nods to Mindcrime-era Queensrÿche ("Eyes of a Stranger" and the title-track come to mind), which is a high compliment. Brilliant vocal harmonies and screaming solos, Allen - good thing to hear you're still rocking hard. All the best, good sir. | |
| Fragrance by tetsuya | 3 years ago |
| Excellent song, Alban - but it is the vocal work here that impressed me the most. Given that the majority of the songs I have heard from you have been instrumentals, it is nice to hear some layered, harmonized vocals added. Brilliant songwriting - glad to have you back! | |
| Storm on the Horizon by Ignoramus | 3 years ago |
| Is it a bass or a clean electric guitar that plays the repeated melody that holds everything together? I'm suspecting the latter, but regardless, I love it. It starts the song on a familiar, comfortable and reassuring tone, which stands apart from the title, which suggests something initially explosive. And that works for me. I like surprises, and the intro was definitely that. Obviously, as the song progresses, it becomes huge, epic, thunderous (literally) and tempestuous. Your heavy riffing is more refined (and heavy) here than it has ever been. The nods to the Hetfield / Hammett dynamic are both apparent and appreciated, but the added symphonic elements definitely scream Nightwish - all in all, an amazing combination. Have you listened to Iced Earth's "The Glorious Burden"? It's a 30-minute song inspired by the battle of Gettysburg, and is much more elaborate, symphonic and melodic than 80% of IE's catalogue. This song very much reminds me of that suite, and should you be so inclined (and have the time), I recommend you listen to it. This has been my favorite of your instrumentals thus far, so many kudos to the both of you. Drums in one take? Damn. |
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| Nothing by rsorensen | 3 years ago |
| This harkens back to Jar of Flies, doesn't it? The bare-bones quality of it, coupled with the often unsettling tone you strike and thematic lethargy, and you have an acoustic grunge track, as if pulled from a time capsule. Especially the line "Have you ever seen a ghost?" - the melody behind that line reminds me a lot of that late-90's fusion of post-grunge angst and uncertainty. You have a way with melody, good sir, and this song is a fitting addition to all the evidence. Great stuff, all the way. |
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| Amaze Disgrace (the second coming mix) by spootane | 3 years ago |
| The acoustics are fantastic, and very well recorded. Your consistency in playing is also admirable and must have required a lot of practice. The distorted guitar is a bit shrill and has that wasps-nest sound (to steal the description from Eidolonia) that isn't very friendly to the ears. That, however, is my only concern. Also, is that a 4-part harmony at some point? Or am I hearing voices? Regardless, thumbs up. This makes me really want to listen to the full original. I must admit I have dropped the ball considerably in my quest to listen to 3. Aside from a few listens here and there and the concert we went to, I haven't given these kids their due credit. I should remedy that. |
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| Prólogo: żQuién quiere un sencillo? by Etinto | 3 years ago |
| I will echo Pharma's comment here. This is a complete assault (sensical or otherwise), and a fitting ode to Primus' zany musical meanderings. It's like being beaten on the head with a wrench until you lose all orientation - and I mean that in a good way. This is what Apollo 440 would sound like if they were to watch the same Luis Buñuel movie for 5 weeks straight in a dark room with no windows. This is like staring into a kaleidescope made of human bones. This song reminds me of a black and white video directed by Salvador Dali of dogs walking on their hind legs. This is what I'd start hearing if I drank absinthe mixed with lighter fluid. So yes, very crazy stuff -- but I'm still listening and enjoying this. It's curious to note that even a song with such a lighthearted and whimsical theme was taken pretty seriously by its composer(s). Also, nice to know you have fun friends. Bravo. |
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| Withered Isle by morkjt | 3 years ago |
| I should have known better. A delicate piano intro, soothing melodies afterwards - there had to be a heavy component! And here you were, lulling me into a false sense of security. But hot damn, what a fantastic heavy passage. The repeated harmonic was fantastic, and the rest of the song from there is everything I have come to love about your songs. This one is a favorite, and you can make damn sure that I'll be playing this one many times. Glad to hear you're still doing that rocking thing you do, Mark. |
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| Adam Carolla by AllenDean | 3 years ago |
| Funkadelic indeed. This would also go well with sound clips of Adam Carolla being the abrasive, snide and hilarious person that he is. I remember hearing his antics on Loveline and laughing after raising an eyebrow or two. Great theme song indeed. Hope it makes it to the program! |
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| Dramamine (Modest Mouse Cover) by BenPatterson | 3 years ago |
| I like the atmosphere you build up in your rendition, but I can't quite get over the fact that it's much slower than the original. Though I've never been a fan of Modest Mouse (going so far as to say I really, really don't like them), this song has always been an exception that I listen to very frequently. If I detach myself from the original, then yes, I like the dreariness and desolation in each pluck. I like the curve ball in the form of a breakdown that you throw in around 1/3 of the way through. It really brings everything down to even lower emotional states - down to quiet desperation. That's the point at which I forget all about the original and the song becomes your own. The solo has its hits and misses, but it is consistent, and that's definitely worth something. It works best at its slowest and lowest, and starts to falter a little when you start speeding things up with the higher registers. So yes, with a little tidying-up, this could be a fantastically depressing song or a depressingly fantastic one - either one of which would be a good thing. Nice to hear from you, Mr. Patterson. |
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| When I Close My Eyes by DaveM | 3 years ago |
| A lovely ballad worth its weight in aww's. It is always nice to hear Jay play acoustic lead guitar, and your singing chops are astounding as usual. Given the Fractal Garden lineup, this was like listening to bootlegs from Pangea - a nice throwback to earlier times. Great stuff, Dave & company. |
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| Thunderstorm by aspaff | 3 years ago |
| Very mesmerizing - the dissonant lead guitars, coupled with the rhythms provide a pretty intense experience. I like your choice of breaks too - they work well to break up the pattern. Great stuff, indeed. |
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| Spoiled by Etinto | 3 years ago |
| This song sounds like a painful journey of personal discovery. The breakdowns with the numerous effects and "chanting" (it sounds like chanting) are excellent and exact a lot of anguish from the melodies. I like that you go on/off directly to softer sections, like the cello passage. One big thing though: you should examine your singing, because sometimes you fall shy of the notes you want to be hitting. At other times, it seems like you push it too far. The slight deviation makes the singing sound a bit lethargic, but that, of course, just adds to the ambiance. Was the abrupt cutoff at the end deliberate? This is definitely your best work to date. I can tell that a lot of you went into this song, and there's a lot to be taken out. Just make sure you're hitting the notes you want to be hitting and then you'd be set. Excelente canción, boy. |
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| The Silence by morkjt | 3 years ago |
| I was never a big fan of Gamma Ray, and I've always been very picky with Helloween (love every bit of "Chameleon", though, which seems to go against the hardcore Helloween grain), but this song is phenomenal and you do it justice. I agree with irok - you should take the momentum built up here and continue with "The Chance" or "Where the Rain Grows". Love the fast hits on the acoustic guitars. You manage to keep up the momentum on this song, despite it's "come and go, fast and slow" pattern, which could get old. And all these glitches you speak of - they fall on deaf ears, fortunately. Great rendition, Mark. Keep up the rock! |
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| Disco Verde (pants down speakers up mix) by spootane | 3 years ago |
| Ha! A man of many tastes and talents. Great stuff, Harp. I like how it starts very enigmatically, with little clues as to where it's going, and then morphs into this crazy fun, techno-jazz outfit. My favorite part is the segment right before the breakdown just slightly after the halfway mark (yeah, couldn't think of a less convoluted way of describing that). Hope you did well on this assignment, because from the looks of it, you put a lot of time into it. Delightful, indeed, son. |
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| Resistance in Futile by AllenDean | 3 years ago |
| Awesome experiment, Allen. It's cool to break out of the mold now and then and try new sounds, all the while incorporating that screaming tone of yours. I like the tasteful selections you made loop-wise - it really is a mish-mash of metal elements with psychadelic new-age textures. I like where you're headed. So, when / where can I get a hard copy of The Razor's Kiss? |
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| My Naked God by morkjt | 3 years ago |
| I have nothing original to say to this song that I haven't already communicated in the form of rave reviews in previous songs. Great stuff, as usual Mark. Keep the rock alive. | |
| Fight Back The Fear by morkjt | 3 years ago |
| Ooh, the beginning brings to mind Agalloch's "Pale Folklore" album, namely the "She Painted Fire Across the Skyline" trilogy. If that means nothing to you, it's alright, it's just my way of saying that the beginning of the song has an acoustic folk/black metal tone to it. You handle the guitars much better than the Oregon boys do, so kudos to you. Great progressions, as usual. My favorite part comes slightly after the halfway mark, where most all instruments are silenced and a new riff is introduced. After that, you pair it up with lush acoustics, and the rest is a fantastic lead guitar solo. How you churn out songs like this so frequently is a gift for you and a mystery for me. Rock on, Mark. |
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| GR££D by DaveM | 3 years ago |
| This song is a fine mix between an Iron Maiden ballad with the classic rock sensibilities of the Eagles (with a little Joe Perry in the lead guitar). The lyrics are definitely the driving force behind this politically-fused song. The vocals start off a bit too dry for the rest of the mix, but it still works well. You have a taste for balancing guitars and ambiance which I wish I possessed - I listen happily, but also with a hint of envy These are troubling times indeed. Between failing, protectionist policies and the United States' unwillingness to step away from its position as the global benchmark, we're headed in a strange direction. Great song, Dave. Hope your vocal chords recover soon (still on board for that little project of mine, I hope!). All the best to you and your business endeavors. |
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| Interlude - Through the Jumpgate by voXager | 3 years ago |
| As someone limited by the constraints of software instruments, I am (very) impressed with what you have done. The rhythm guitars do sound a little synthetic at times, but that's because I was deliberately paying attention to them for that quality. The rising clean guitar was awesome (very Agalloch), and the overall progression very well done. Arjen Lucassen would be envious |
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| Sincerely Molly by rsorensen | 3 years ago |
| Poignant, simple and beautifully played. Love the minimalist approach you have taken with this song. It reminds me of Gin Blossoms at times, then when the vocal harmonies kick in I feel a throwback to Jerry Cantrell (namely in songs like "Don't Follow" . Love how the song develops, the lyrics are very touching, and the overall inspiration very humbling. Great song, and here's to hoping Molly somehow rises from her plight. |
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| Leave Me Here by BenPatterson | 3 years ago |
| Lovely. You are a true master of many genres, Mr. Patterson, and your command of the acoustic guitar is enviable. This song sounds like it would go swimmingly with a violin/cello or two. Please keep delectable pieces like this coming, because I am loving them. |
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| Decadence of an Angel by juzcook | 3 years ago |
| Great riffage and powerful progression. I'm with irok on this though - there is some definite clipping during the faster passages, and the mix as a whole seems pretty hot. The overall mixing is superb, so I'm sure it'd be a matter of volume automation. Excellent lead guitar solo - really compliments the rest of the destruction. Rock on, juz. |
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| Piano Escape by filmscoremike | 3 years ago |
| Beautifully played. Admittedly, the beginning was much to slow for my taste, but I read your disclaimer and continued. Once it sped up, it was a very delightful song, one I will very likely revisit in the near future. As far as great piano pieces, I'd recommend "The Wind" by iComp artist TheaterofMemory. Please check it out - I'm sure you will enjoy and appreciate the tune. Lovely. |
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| Losing You Again by filmscoremike | 3 years ago |
| Incidental indeed. The music itself develops as the songwriting would: it begins as an idea, gets fleshed out, and works around itself to achieve its mood and tone. Great stuff. If you haven't already done so, do listen to iComp artist Balok - his songs are classical with heavy doses of strings. My favorite from him is "And Know the Place for the First Time", which coincidentally (?) is also his most-played track. |
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| Metal Orchestra by filmscoremike | 3 years ago |
| Great mix - symphonic metal has long been, and will for long be, my favorite genre. Bands like Kamelot, Symphony X and Therion are my muses for my own metal creations, so this song was right up my alley. I like the turns a lot - it strays away from the cookie-cutter melodic phrasings of typical symphonic metal, which I appreciate. My favorite part was around 5/6 of the way in, where the elements reunite and bring the song to its dramatic close. Great stuff. If you plan on venturing into this cross-over again, I'd recommend more metal! |
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| We Ride! by uptheirons106 | 3 years ago |
| That is some killer-fast playing. How you can keep that up without losing a limb or two is impressive. The riffage reminds me of part three of Nick Van Dyk's (Redemption) "Desperation" suite. Very melodic, and very intense. I can hear the overlap between this and Osiris' "Lethal Injection", which is one of my favorite tracks from that band of yours. Bring on the vocals! |
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| He's a Pirate/Pirates of the Carribean theme song (cover) by uptheirons106 | 3 years ago |
| Ha! Aside from a few production- and timing-related issues, this is a delight to hear. I covered this song in an orchestral fashion, so I know the trouble that went into this recreation. Great stuff, irons. Love the little touches you threw in, like the harmonized leads and the extra fill-ins. My favorite part is definitely the harmonized part around 1/2 way through all the way to the end. Sounds like Adrian Smith and company rocking out a post-chorus lead on a Maiden track. I congratulate you on this epic cover, because it deserves much praise. |
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| Edge Of The World by morkjt | 3 years ago |
| If this is an indication of 2009, then we're in for a great year. The psychadelic intro was a nice touch, and the riffage that follows is very Iron Maiden (always appreciated). You've also varied the drumming in this one, which is also great. The second half reminds me of the Mega Man video game series. A lot. And that's an extremely good thing. Glad to hear you're still rocking out - still a fan! |
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| Why We're Alone by rsorensen | 3 years ago |
| If I could have things my way, you'd make an entire album of songs like this one and "Goodbye". You handle the pop-rock sensibilities like a true master, and therefore have earned my envy of envies. It works so well that during the verses, I completely forget the Canon, and the song becomes immediately yours. The end was such a tease though - once the synths and piano kicked in, I thought "Oh, there's a whole new section", until I noticed it was the end of the song. Nice touch, but it left me wanting just a little bit more. Great stuff, as usual |
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| Odyssey by Ignoramus | 3 years ago |
| I really like the lush intro - it reminds me of icomp artist morkjt's catalogue, with its deep guitars and distant, echoed electric leads. Great stuff. I love the Middle-Eastern-influenced heavy rhythm. After several rounds, it becomes infectious and develops a powerful life of its own. Are those choirs that come up every now and then, or a choir-like synth pad? In other words, each section individually is awesome. The transition between the intro and the heavy section is a little stark, but it will grow on me, no doubt. My favorite part is about 5/6 of the way through, where you finger pick a completely new rhythm. I wish you had done more of that - it is a delightful surprise and gives the song a completely different tone. Great stuff, gentlemen. Happy New Year! |
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| We Wish You A Metal Christmas by Eidolonia | 3 years ago |
| Don't know why I didn't originally notice the 3/4 to 4/4 switch. Is that right, quoteth the theory-challenged musician? Edit: I just tapped my finger to it, and I don't think you changed the signature at all, right? It's creative drumming. Good times. |
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| We Wish You A Metal Christmas by Eidolonia | 3 years ago |
| So, I think I can say with due certainty that all your gear travels and tech wanderings have led to the thickest and heaviest possible tone ever. Seriously that is one fat rhythm guitar, capable of crushing cars and chasing away the hungriest bear. The sonic boom that would blast out of Santa's rear speakers would be enough to propel his sleigh to the next fifty countries. But because of that, the lead guitar gets a little drowned out. Did you try kicking it up an octave to see if it managed to jump out of the flames? And are those choirs underneath the guitars? 'Cause they sound like choirs and they sound like awesome. Bad. ***. |
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| I Wish You a Merry Christmas by TheTiler | 3 years ago |
| I really like the transition from the traditional Christmas tune to the smooth, jazzed melodies at which you are the master. This is the kind of music I could listen to on loop and never scream. Was that a brief "in excelsis deo" motif that I heard almost exactly halfway through? Or am I just too strong a Christmas mood today? Beautifully played, Mr. Tiler. A Merry Christmas to you too, good sir. |
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| Bless the Good Ship iComp Lord by thenownows | 3 years ago |
| Avast ye musical landlubbers! Loving this. This is not only a great folk song, but it's a delightful, light-hearted song that really sums up what this website it like: fun and infinitely rewarding. Love the music, love the ambiance your fellow collaborators have created with the pirate lore and instruments chosen. Seriously, this is amazing. I haven't heard anything like this on iComp yet, and I'm glad I found this gem! |
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| where we going to by guitardogcar | 3 years ago |
| Something I have never been able to do is make a chorus without words. And here you have done just that, and it sounds great. Love the more upbeat melody and overall less self-conscious lyrics. Though it may feel like winter across the country, this song dispels the sentiment. | |
| mary by guitardogcar | 3 years ago |
| You amaze me again. As always, I'm left wanting to expand this just a little more, but that's only because I liked the song so much that I couldn't bear to hear it end so suddenly. Beautiful, amongst your best work. Very moving, inspired, and played with a delicacy that suits the content perfectly. |
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| A Christmas Prayer by mfwmiles | 3 years ago |
| This is the kind of collaboration that puts all supergroups to shame. This is the true definition of musical headbutting and the result is absolutely magnificent. The chorus is so impressive, the showcase of solo's is so elegant and tasteful, and the guitar is such a warm guide. Seriously, what a brilliant song. At the grand finale, you can almost imagine everyone shoulder-to-shoulder, singing in unison to this inspirational tune. And yet, I'm willing to bet no one actually worked in person on this tune. Amazing. I am humbled by this piece. Happy holidays to everyone involved, and to all of the iComp community. |
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| Christmas Without You by rsorensen | 3 years ago |
| I love the whimsical nature of the vocals. They build up a certain mood and expectation - then the chorus completely changes direction. The first time, there's that slightly dissonant tone to it, and the second there's the distortion and claps that kick in. I didn't see those changes coming - and they're much appreciated. This is a Christmas tune like no other. Happy Holidays, buddy, and thanks for the great song. |
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| Raktified Covers For Whom the Carol Tolls (Carol of the Bells cover) by Surak | 3 years ago |
| I wonder if the original composer of "Carol of the Bells" had any idea how easily their song could turn into a metal song. Definitely nodding my head in approval at this rendition. Simple, elegant, and very direct. Happy holidays to you too, sir. | |
| Sick Spirit ... Hold Me In Your Arms by thenownows | 3 years ago |
| Wow. It's always great to hear something truly surprising, engrossing and completely original. This, along with Pachydermus' "Binary Luminescence" are examples of songs that truly go beyond my comfort zone into something altogether new, but refreshing and very enjoyable. From the maniacal vocals to the gramophone texture, synth strings and jumpy rhythms - this is a like a successful fusion of softer metal, industrial and dance music. How that's possible might seem strange on paper, but here it is. I like what I'm hearing ... I like it a lot. |
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| Galileo's Journey To Io by FrankAxtell | 3 years ago |
| Ah, this reminds me a lot of Spock's Beard and Transatlantic, which is a great thing right from the start. Great 70's progressive groove to it, letting the guitar lead but never showing off. I love your use of the organ - such a difficult instrument to pull off, but it gives this song the perfect amount of elegance. If you haven't already heard of them, listen to The Tangent, namely their album and title-track "The World That We Drive Through". You'll enjoy it, guaranteed. |
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| the whale and the wheel by ochrestomanci | 3 years ago |
| Another beautiful song. Your voice is equal parts frail and reassuring, both working together in a strange, inexplicable way. I would have lowered the volume just a little when all the voices come together to say "in the body of a whale", because it was a bit loud. Aside from that, I like the harmonized voices a lot. Great song. You would really like the following iComp artist: guitardogcar. He has a very similar minimalist approach as you do: a guitar and his voice, and his style is equally rural and folk. Do listen to some of his songs. |
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| i would have done by ochrestomanci | 3 years ago |
| This is what I would call true American rural folk. Rhythmic, melodic, lyrically provocative, storylike, and almost hypnotic. It sounds as if the entire song was crafted around the sound of those bells, because it really hugs them very snugly. Beautiful song. I'm grateful that your collaboration with PinkFreud led me to you. |
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| Between You and Me (w/ ochrestomanci) by PinkFreud | 3 years ago |
| The addition of the drums makes the overall song sound like something from a Be Good Tanya's album - smooth, seductive and melancholic. The slide guitar was an interesting addition, not something I would have expected, but the more I hear it, the more inseperable it becomes from the overall song. Congratulations to both of you on this marvelous combination, for a new favorite I have found (It's a sin that I hadn't heard the original before reaching this collaboration, because I know I would instantly love it. In fact, let's go explore ochrestomanci's stuff.) |
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| seasons change by guitardogcar | 3 years ago |
| Definitely more upbeat than your "typical" songs; I hear the shortness of breath. I'm sensing Dispatch influences ("The General" comes to mind), and some early Jason Mraz acoustic numbers. Love the contemporary lyrics; they take on a sort of outspoken political attitude at times. Whether or not it was intentional is moot, but it works well because it still keeps a light-hearted tone. Nice (albeit short) song, Erik. Keep 'em coming. |
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