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Loginherrsolera's 100 Most Recent Comments
| A Christmas Cradle by herrsolera | 11 hours ago |
| A year later, here is the order of the songs: We Wish You a Merry Christmas Carol of the Bells A Christmas Cradle (original melody) We Three Kings Ave Maria (hidden melody, played by a flute) What Child Is This? God Rest Ye Merry Gentlemen Adeste Fideles / O Come All Ye Faithful The Twelve Days of Christmas The Little Drummer Boy Hark the Herald Angels Sing Today I begin composing my follow-up, soon to be released. Stay tuned! |
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| Car Wash by macoco | 12 hours ago |
| Jajaja - que canción mas divertida! Suena como una versión mas lenta de "Mi PC" de Juan Luis Guerra. Ni me quiero imaginar cuanto duraste en grabar todas esas voces (me da dolor de cabeza solo pensando en grabar una voz). Se nota que te divertiste tocándola, especialmente con todos los instrumentos. Por qué el titulo en inglés? Suena mejor "La lavada"? Saludos. |
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| not on the agenda by guitardogcar | 12 hours ago |
| Love the vocal harmony, Erik. Every now and then I listen to your songs and wonder what they would sound like with a few extra spices. That vocal harmony is exactly what I mean. Tasteful and beautifully delivered - I want more of it. | |
| Uncorruptible by rsorensen | 12 hours ago |
| This song is like being petted by a loving hand, then getting kicked in the teeth, only to be petted reassuringly once more. It's an interesting, almost frightening dynamic. A stark light/dark balance, but one that would succeed if placed as part of a greater thematic whole. Intrigued ... |
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| Synaesthesia by morkjt | 12 hours ago |
| I really like the übermelodic wall of guitars you put up. I don't know if you do it with multiple tracks or a sophisticated echo effect, but it sounds great. The breakdown right around the halfway mark was a treat, but not as delightful as the tempo changes that followed. I love it when you branch out and throw some wrenches in the gears, and this song definitely fits that mold. Plus, it's rare to hear a true fast solo on your songs, so that was also a nice surprise. Great stuff, as usual. Keep it coming! |
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| Rain On Me by theVirtuals | 10 days ago |
| Looks like the Virtuals are surviving the test of time. Another well put-together, excellently produced and wonderfully catchy song. How a song like this even begins is beyong me. Well done, everyone! | |
| When Angels Die - final mix by NnitehawkK | 12 days ago |
| I really like the mix of heavy arena metal with industrial, post-rock elements. I'm also a big fan of the play between the soft sections with the louder vocals-driven arrangements. I would have liked a greater climactic sequence, but that doesn't mean it's not a great song on its own. I should also note the fantastic production that went into this song - superb work. Rock on, everyone. |
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| The Inevitable by Etinto | 12 days ago |
| Wow. That was a trip. Your skills at not only putting progressions together, but varying them with a very talented edge, are apparent in this song. First of all, the industrial genre is not an easy one to pull off, especially if you're trying to emulate Nine Inch Nails. Though I'm not the expert on Trent Reznor, I think you've pulled off something that he would enjoy, which I think says a lot. The synergy between the vocals and the ethereal spoken word passages is very strong, and your lyrics very captivating. Second of all, when did you learn to record dynamic vocals? Seriously, this is something that I still can't pull off after 9 full-length songs, and you're getting the hang of it without nary a decent microphone. Are you using the pinhole in the computer? If so, I hate you, because I can't get that good of a sound out of it. Also, your choice of loops is commendable. It sounds like they were made for your song, but it was actually calculated choice on your part. Very impressive, indeed. I hope these songs aren't distracting you from your studies too much - but I can't complain; they're great. Keep up the good work (again, just as long as songwriting is a reward for doing well in school). Un abrazo, -Danny |
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| A little solo idea by fminorpenta | 12 days ago |
| I agree with Eido - I can tell that you have a sense of sweep and buildup, but here it plateau's at the beginning and carries the flatline to the end. This is all personal taste, but I'd like something with a little more drama, anticipation and surprise. In this case, the lead guitar seems to be following a counterpoint metronome to the rhythm guitars, and it's creating a sense of monotony towards the end. Let's vary up the rhythms, insert some pauses, and maybe a quick reprise. | |
| I of the Storm by VertigoSteps | 13 days ago |
| Purchased and currently downloading. Can't wait. | |
| Where are you now? by AllenDean | 18 days ago |
| Still loving this. | |
| Latest by WettonFan | 18 days ago |
| As someone who uses GarageBand synths far too often, I think you did a very good job with what you were given (though a quick suggestion would be to double-track the distorted rhythm guitars and pan them to create a fuller stereo sound). I like the Spock's Beard / Frost prog-rock at work here too. The clean guitars and the keys really remind me of Neal Morse's work with a tinge of medieval-ness, which is always good. Very impressive, indeed. |
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| Relentless by morkjt | 19 days ago |
| You definitely have the compositional chops of a restrained John Petrucci. You don't have much of the virtuoso fireworks, but definitely the finesse and elegance that comes with crafting sharp melodies. I like the synths that you've placed under the guitars - really gives this song an otherwordly feel, making it different from previous morkjt songs. I like the breakdown about halfway through - it sets a great pace from there onwards, and provides the overall song with an excellent progression, as usual. I've come to expect nothing less from you. |
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| sadie by guitardogcar | 20 days ago |
| Lovely playing, and excellent narrative, Erik. I hear elements of Dispatch, John Mayer, and Toad the Wet Sprocket in your playing and lyrics. Honest and straightforward, this song speaks volumes about two people. A truly beautiful story. | |
| slackers by hasacat | 20 days ago |
| This song sounds like it'd work perfectly alongside Pachydermus' "Binary Luminescence". Very exotic, almost voodoo atmosphere here, one that reminds me a lot of Dead Can Dance and similar new age artists. Love the different layers at work, and the vocals are superb. Great work, everyone. |
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| Religious Breach by Etinto | 20 days ago |
| Definitely the most cohesive piece to date. The song as a whole, both in terms of construction, development and melodic phrasing, remind me a lot of Virgin Black. In fact, if you added some strings and a choir to this song, you'd have something that sounds a lot like Virgin Black. Overall, I think the master volume is a bit too high - the song clips often, which is usually an indicator that something (or everything) is too loud. I like how you've experimented with different effects on the voice. At times it's echoed, double-tracked and/or megaphone'd, and it works every time. It keeps me guessing, and that's a good thing. And it's a very somber song, which is also a good thing in my book. Though it doesn't have the zany intrigue of "Gourmet Infants", this is my favorite song from you to date. Congratulations, boy. Now get to studying! |
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| In the Fields (Remastered) by Balok | 28 days ago |
| Ah, what a delight. One of my all-time favorite Balok tracks given new treatment. Truly magical, good sir. The subtle differences are much appreciated - now if only you could do the same to "And Know ... "? Loving this. |
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| Ramayana: Indrajit Falls by DavidBowles | 1 month ago |
| Ok, one of my biggest "things" is metal mixed with world music (Diablo Swing Orchestra, Orphaned Land, Opeth, Nightwish), and this is just that. This style embodies what I hope to be the next "big wave" of metal bands out there - small, niche groups that take music from niche cultures and apply a raw aggresion and progressive attitude to make something truly dynamic and captivating. And here it is. It sounds amazing, David, it really does. It's exactly that mix of lush orchestration with pounding drums and guitars that fuels this combination of sounds. Though I can't speak to the specific instruments used (because I have no idea what they are, only that they sound good), I think you used this mix well. From the enchanting strings to the eerie woodwinds, it all works well with the guitars. And as synthetic as they may be, I am the guiltiest of the guilty in using them. Beautiful work, good sir. |
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| I of the Storm by VertigoSteps | 1 month ago |
| YES! I've been waiting for you to upload this for a really long time now, and now the wait is over! Ok, the intro is a huge surprise. Given the snippets we heard in the album preview, I was expecting an intense opener, but instead we get this delicate (and yet very somber) lead-in to what is undeniably a forceful song. The electronic beats were another surprise - this is reminding me a little of Subterranean Masquerade's avant-garde approach to songwriting. And then the storm is unleashed. The real bulk of the song sounds like an angry riot, raging from town to town on a sonic witch hunt. The raw energy with which this song was carried out is palpable; the drumwork is intense; the leads are powerful and present; the lyrics, from the clean Portuguese to the banshee screams are balanced and perfect ... it's all a terrific assault on the senses. And that medieval guitar finish? Wow. Thanks for the song, Bruno. Now link me to a button that says "Purchase album" because I need to have this album. |
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| I can’t wait to meet you boy (When you become a man) by mfwmiles | 1 month ago |
| Wait, so is this a cover or not? Because if it is, then great, I'd love to hear the original, because if it's half as good as your rendition, then it's going to be an amazing song. However, if it's original, then wow, consider me doubly impressed. I really like the folk-rock combination; definitely a genre where Alan rises above the rest. Maco's bass is always a welcome addition to any song, improving it organically like little else can. Great song, gentlemen. |
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| My Last Words by scarforlife | 1 month ago |
| Ok, I'm buying this album. Link me and my money is yours. | |
| BossaCoco by macoco | 1 month ago |
| Al principio pensé que esto iba a ser una colaboración entre BossHook y macoco (solo por el nombre, jeje). Fabulosa melodia, Hernán. Me recuerda a un juego llamado "Grim Fandango", cuya acción se desarrolla en un mundo fantástico, donde todos los dias es Dia de los Muertos, y los ciudadanos son esqueletos, todos queriéndo llegar a la próxima vida por medio de la plata que se les dió cuando murieron. Esto no tiene nada que ver con tu pieza, pero la banda sonora del disco es un jazz latino muy seductivo y sutil - igual que esta pieza. Es como para sentarse en un sofa de cuero, tomar coñac y ver a una dama cantar en un escenario con poca luz. Excelente pieza, hermano. |
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| halley by guitardogcar | 1 month ago |
| Love the narrative as it glides effortlessly along the guitar. I continue to admire your penchant for dramatic songs, despite the soft tone and minimalist approach that you take in composing. It's something that I would almost call improbable, but here it is. Brilliant song, Erik. |
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| Techno-Junkie (iPhone Jedi Mix) by 8MonthMalfunction | 1 month ago |
| This genre isn't exactly up my alley, but I like how it sounds. And that's without knowing it was all an iPhone experiment! I mean, wow. This is really impressive. I have an iPhone and I would never imagine myself sitting down to create something like this. I'm in awe, you two. Seriously, this is so well done, and to think that the primordial pieces started off on a small wireless device. Truly impressive. Nice to hear a new side to your compositional prowess! |
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| Nympholepsy by Ignoramus | 1 month ago |
| The riff that I like most (the one shortly after the halfway mark, where you start chugging those riff), inevitably gets the song "Legacy" by Shadow Gallery in my head, and now that I think about it, you might like it? Listen to it here by clicking on "Legacy" on the player on the right. Let me know if I'm right or wrong whenever you get a chance! |
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| Nympholepsy by Ignoramus | 1 month ago |
| Very interesting. I like the recognizable sections, though I can only truly hear vocals happening in the first fourth. The rest seems like it sounds better off as an instrumental - though I wouldn't be opposed to hearing a vocal rendition. The transition to heavy didn't sit well with me. Once the lead guitars kicked in though, it sounded great. That made me realize that I felt something was missing to fill in the gaps, because just the rhythm guitars and the drums felt too remote. I didn't have this reservation with the break that came just past halfway. That change rocked and its timing was superb - the wah'ed lead that came afterwards was also something to behold. You really punish those strings, and it comes out nicely. The end is great - I have always liked your pairing of lush acoustic guitars with electric leads, and this song does not break that trend. Rock on. |
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| Can You Feel ? by Dave M | 1 month ago |
| Your metal voice is very Ray Adler, former singer of Fates Warning and current vocalist for the prog-metal supergroup Redemption. I love how that guy sounds - he has a very clean, but powerful voice, never raspy and never off. It certainly helps that Serfox's music reminds me of the latter band just slightly. Brilliantly done. And yeah, where is this mysterious musician? His music is wanted here! By me! And others like me! Anyway, it's a great song. The vocals are a bit dry for the rest of the mix, but that's hardly a fault. Great vocal harmonies, as usual. |
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| Broken Silence by Balok | 1 month ago |
| Balok, I don't think I ever mentioned this, but two and a half years ago, when I joined this site, you were the artist who proved to me that there was genuine undiscovered talent out there. With songs like "In the Fields" and "And Know the Place for the First Time", I felt like I had found a site of kindred spirits. And songs like this only continue to support that thought of mine. You have a true ear for emotion and you exploit it so well. I can't get this much orchestral articulation out of GarageBand (which I desperately need), so how you manage to do it is a gift. You should give clinics on this and invite me. Please. I like how you use strings to both soften and intensify movements. Something I've never quite pulled off is orchestral percussion, and here it is done quite well. A tip of the hat to you, my friend. Great stuff. |
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| scaramouch by ageisbell | 1 month ago |
| I'm impressed by the fact that, judging by the description, this song came together a bit quickly. This kind of experimentation would take me months to pull off, and here it is, sounding awesome in a tight package. Great stuff Age. I like a lot about this, but mostly the strange things that I wouldn't have expected (the clips at the beginning and end, the descent right before the end, and a few echoes here and there). Glad to hear you're still using that gruff voice of yours - it's a prized asset! Rock on, my friend. I look forward to working with you soon. |
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| Raising faith by SOVVERSIVO | 1 month ago |
| Your music here is definitely channeling In Flames (not vocals-wise, of course), which is a great thing in my book. In fact, the main riff is very reminiscent of the middle section (around 2:10)of Our Infinite Struggle, which is one of my favorites by them. So yeah, masterful stuff. And I agree with Eido in that it all sounds very professional. I wouldn't be at all surprised to hear you on the radio or playing in a music store - especially in Europe. Keep the rock alive, sovversivo. |
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| Brave guide by SOVVERSIVO | 1 month ago |
| Even better. Wow. Definitely a winner from you guys. Two things come to mind (besides 'awesome' and 'amazing'): the rhythm of the chorus reminds me of "Pull Harder on the Strings of Your Martyr" (Trivium), and the entire song itself reminds me of Sentenced, particularly their album "The Cold White Light", which I really like. Yeah, not much to say except that you guys are now one of my favorite artists. |
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| No escape (from solitude) by SOVVERSIVO | 1 month ago |
| Dude, this is nuts. I like this a lot more than "The Sound of Heaven", which was an incredible track on its own. The melodies in this song, coupled with its crushing heaviness, really resonate with me. I agree with Eido that the distortion might be a bit too much - when you rail on the high-hat, it mixes a lot with the guitars to the point that it sounds scratchy. But everything else keeps the song miles above the average metal song you hear here. I like that it's a little shorter too - you really lit all the powder kegs with this one, and didn't let it overstay its welcome. Great stuff. |
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| The sound of heaven by SOVVERSIVO | 1 month ago |
| Yeah, that was some fantastic playing. The music, the mix, the singing, lead guitars - fantastic stuff indeed. I love it when new artists (to this site) like you blow me away. I like the pauses in between sections, building up to them - you have a great sense of timing. Moving on to your other stuff now, with high expectations. |
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| today (tomorrow's waltz) by guitardogcar | 1 month ago |
| Beautiful, Erik. This reminds me a lot (musically) of "January Rain", which is one of my favorites by you. Excellent message, wonderful melody (as usual). I like the double-tracking too, though I find it a bit too loud - lowering the volume levels slightly will make this perfect. Glad to see you're still around! |
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| The New Heavy by PinkFreud | 1 month ago |
| Dude, this is nuts. This is like the music of Black Sabbath meets Hetfield/Heafy vocals, beating down the listener with musical bluntness. Age knows how to throw down a vocal harmony, and his double-tracking here is exceptional. And how about those riffs? Damn Kevin, you should make more of this, because this is some great guitar work. The drums are excellently mixed into this work - in fact, everything is here in perfect amounts (on my trusty headphones anyway). Just so you know, I took a break from the new Trivium album to listen to this, and I'm glad I did. Keep the rock alive, gentlemen. Mr. King from Maine would be proud. |
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| Dreams (Piano & Strings Mix) by amateurpro | 1 month ago |
| Some beautiful additions to an already touching song. Great dynamics and subtle textures - very well done AP! | |
| Exodus by Balok | 2 months ago |
| Very nice buildup. Cinematic and theatrical as usual - you're very good at picking organic titles that speak very well to the song. There's a definite sense of hope, but not without urgency. There are a few sections (particularly in the middle), where I'd tighten up the timing, because some of the staccato's aren't matching up with the piano. Sure, it gives it a more natural feel, but in this case it just sounds "off". Besides that, it's another phenomenal Balok offering - welcome back! |
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| Exit Music (For a Film) - Radiohead Cover by PinkFreud | 2 months ago |
| Alright, this is without a doubt my favorite song on "OK Computer", so it's not without a bit of high expectations that I started listening to this cover. And holy science, you guys pulled it off. Greg's voice is much different from Thom Yorke's, but it works wonderfully. He still manages to pull off that brittleness in Yorke's voice remarkably well. However, the synth voices a bit too loud and they're drowning out Greg's vocals on my headphones. Then the drums finish the job by completely sending him too far back. Don't get me wrong, they sound amazing, and are a very faithful recreation, but they, coupled with the rest of the instruments, are much much louder than the rest of the song, and reduce Greg's voice to just ambient noise. I can tell you went to great lengths to recreate the song as it sounds on the album, even going so far as to add the airplane noise right after the synth voice section. Mad points there. If you were to just level out the second half so we can hear everyone, then you can go on tour as an official cover band. |
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| Space Love Guitar Solo by spootane | 2 months ago |
| Sounds pretty heavy. Let's hear a drum track, some bass, and then move forward with some headbanging. | |
| Ovalado by Zippex | 2 months ago |
| Wow ... how did this slip under my radar? This is a perfect combination of maco's sensual grooves with some truly ballsy harmonized guitars. Suave, los dos compositores son latinos verdad? Entonces puedo seguir este comentario en mi idioma natal? Excelente. Bueno, no conocía a Zippex, pero siento que lo voy a querer conocer después de oir esta pieza. Esas guitarras suenan increible, y tienen cualidades improvisadas, pero no tanto que suena improvisado ... tiene sentido eso? De todos modos, calzan bastante bien con las melodias que desarrolló Hernán. Felicidades a los dos - los voy a estar buscando para mi próxima canción  |
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| Ex Astra Cuniculus - 1 - "Only Human" by Surak | 2 months ago |
| That definitely sanded the flesh off my face. I'm a pretty big fan of fast, melodic metal, so when that first riff kicked in, I was excited (and every time it came back, I was definitely rocking out). Definitely has a black-metal edge with some thrash elements in it. The part afterwards is a bit too breakneck / frantic for me, and since it's so indecipherably fast, it sounds a bit synthetic. Speaking of indecipherable, how about those vocals? Good thing I had the title of the song to guide me, because otherwise I'd be completely lost. Post some lyrics so I can follow along. I like the solo, but the very last notes are a bit off the register and swallow all the sound. Your rhythm guitars are heavy as usual, and the melodic progression fits the Surak catalogue nicely. Rockin. |
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| Rock'n'Roll Tragedy by 8MonthMalfunction | 2 months ago |
| I like this song because I can imagine myself humming it to myself once it's done. The bass/guitar duo works, even the parts that seem hyperdistorted. Alan's voice is emotive as usual, never stopping to sing even one halfhearted note. However, I would have liked the vocals to deviate from the guitar line - as it is right now, it sounds like they're leading each other through the song, leaving little surprises. And why did the lead guitar cut off abruptly at the end? I would have loved a nice, smooth fadeout. But that's just me, and despite these details, it's a great song. I like the one-octave-higher combo, which makes the chorus sound sinister at times. Rock on, gentlemen. |
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| Infinity Rising by morkjt | 2 months ago |
| Great stuff, Mark. I'll admit that I needed some time to be fully sold on the first section. Once it settled in, I was a huge fan. However, I liked the second half of the song much, much more (which is better than the opposite structure). Are these songs you're putting together whimisically, or are they part of an album? Let me know because I'd definitely want a copy. |
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| Hate Induction by theVirtuals | 2 months ago |
| Great song, everyone. I'd like to see a breakdown of who-did-what, just so I get an idea of how this song came together. I liked the vocals a lot - the harmonies between o0o and Toni1 work very well in some parts, and could use a little tightening in others, but I enjoy 'em nonetheless. I like the upbeat, bouncy nature too. Very motivational and rallying. And did I mention, catchy? |
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| Recordandote by macoco | 2 months ago |
| A, si ... definitivamente romantica. Me recuerda a la música de cantantes como Luis Miguel o las baladas de Alejandro Sanz. Buena textura, con mucho potencial para cantantes. Cómo sonaría una voz femenina en esta pieza? Quizas ChoirBox? El solo de bajo por ahi de la mitad me encantó - no son todos los dias que uno escucha un bajo con tanta melodía. Excelente, como siempre |
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| Insecure by 8MonthMalfunction | 2 months ago |
| My God, Ian. If you were to tell me that you had set off to write a song to challenge "Grind" by Alice in Chains, then I'd believe you. The effects on your voice, coupled with the sludgy guitars and aquatic leads, it all comes together to create a true (post)grunge number. Though I do like the megaphone-style voice, I think the song could benefit from a cleaner chorus (I made a similar comment on "Give Her Back the Riverbed" by sonsofhypnos), but that's just my personal style, so don't think of it as a quality-related issue. Yeah, this song rocks hard on every cylinder. Fantastic throwback to better times. IF. I. WOULD. COULD. YOU? |
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| Incomplete by PinkFreud | 2 months ago |
| Can I say how excited I am for you to add vocals to this? Seriously, just upon hearing the first 4 seconds, I thought "Yes. I love folksy guitar songs." And then those synths came in, and I knew I was ready for grandeur. I can't wait to see what direction you take this vocals-wise, because the music is beautiful. It has the pop sensibilities of bands like Athenaeum and Nine Days, which means that it's a delicious bed for a singer. Play on, play on. |
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| Dreams (Acoustic Version) by Dave M | 2 months ago |
| Enticing, Mr. M. I was a gigantic fan of the original, and this acoustic version has so much wiggle-room for experimentation. Hmm ... the possibilities ... | |
| A New Dawn by Balok | 2 months ago |
| Very enchanting - I see light slowing drifting into an old toy store, clearing the varnish from vintage toys, antique rocking chairs and dusty floorboards. It also has the same grand progression as "Horizon" (without the electronic beats, o' course), where you start off with a simple idea, and then let it organically ascend to its throne. Lovely ending too. Glad to hear more material from you! |
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| A Top of Gold (done right) by Ignoramus | 2 months ago |
| I was wondering if you were going to go for the easy pun and say that you added "something Moore", but I'm sure it's already been said a hundred times before. So enough literary piffle (as Eido might say), regarding the song, Wowza (as you might say)! It still has the echoes of "Orion", but the new drums, with their crisp sound and dazzling variety, really make this song shine. Your original song, though a great instrumental, definitely had a "project" feel to it, and didn't come across as polished as your trademark collaborations. But this one has risen to the occasion, and not necessarily because it's officially a collaborative effort, but because, as the title implies, it was done right. And the ending, of course, is more captivating than ever. Man those leads are awesome (are they Chorus'd? If so, consider me a born-again believer in the Chorus effect). Jaymz and company would be proud. Great timing of the release too - preordered Death Magnetic yet? I have heard great things, so I'm überexcited. |
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| beneath the shivering trees by sonsofhypnos | 2 months ago |
| This has the same raw production of "Nighthawks", and also the same delicate musical and lyrical frailty that characterized the former. I'm sensing some Pete Yorn here. If you were to strip the drums and electric guitar, you'd have something that sounds like his song "Simonize". It's probably the distant character of Greg's voice, which is usually front-and-center. How do you do your drums? Because these sound pretty convincing. In fact, if I were to randomly hear this somewhere, I'd never suspect that you hadn't recorded live drums. You've also achieved (deliberately or otherwise) a pretty satisfying vintage sound. Well done, sirs. The one thing I would change is the solitary guitar at the end of a few of the sections. It was a bit jarring at first, and was hard to swallow upon repeated listens. That's just hypermelodic Dan speaking though. By now, you'd think I'd erase any expectations before listening to one of your tracks, because no two sound alike. But you guys still manage to surprise me. It's like compositional ADD, and it's amazing. Keep it up, fellas! |
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| Ovalado by macoco | 2 months ago |
| Ok, esta es otra pieza que la escucho, y pienso "Uy, esto es un regalo de navidad para un cantante". Es mas, ahora mismo, estoy "cantando" con la canción. Apenas tenga un interfaz para mi microfono, voy a experimentar. Guitarras harmonizadas?! Maco! Pero ... pero esas guitarras, aunque fueron por solo 4 segundos, sonaron a metal. Quiero mas! Mas de esas guitarras, Maco! Te lo suplico! |
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| Rollercoaster by morkjt | 2 months ago |
| Ooh, from the very first chord progression, I knew I was in for something amazing. And sure enough, no letdown. It's funny, because the first sequence is just acoustic guitars, and I was thinking "Ok, sounds like Fuel. But that's ok, I like Fuel." And then those trademark Mark Turner guitars came out, and any ideas of modern rock were thrown out the window, making way for a more progressively-oriented melodic charge. I hope you don't take offense when I compare your songs to others, even your own - I mean all similarities as compliments. Because I can definitely pick up some influences from "Forgot to Say Goodbye" (probably my all-time favorite from you) here, which is to say, I love this song. Definitely upbeat, definitely enjoyable. A little shorter than the stuff we usually get from you, but the message was perfectly communicated. The only thing I'd like more of is on the title. I was expecting something heavy and on/off, bright/dark with the title "Rollercoaster". That's probably because I'm an adrenaline junkie, so forgive the bias. But yeah, great song. Catchy, bright and a new favorite. Thanks for consistently good songs, Mark. |
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| Kinoto (with Antonello) by macoco | 2 months ago |
| Como siempre digo, excelente groove. Esto suena a una de esas canciones profesionales que le meten a pianos digitales, y siempre me encantan. No sé dentro de cual genero caen, pero siempre me han fascinado. Excelente guitarras - muy progresivas y jazzeadas; me encantaria poder tocar así. Felicidades a ambos! Oh ... I just realized that SELES might not speak Spanish. Here goes: As I always say, excelent groove. This sounds like one of those songs that comes pre-programmed into digital pianos, and I've always loved those. Not sure what genre they'd fall under, but I've always been fascinated by them. Excellent guitars - very progressive and jazz-fuzed; I wish I could play like that. Congratulations to both of you! |
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| Diminished Returns by Eidolonia | 2 months ago |
| I've given the song a good seven listens, and suffice it to say, I love it. I'm glad that I only got little snippets and bits and pieces to work with, because the end result was astounding (which isn't to say I was surprised; I knew it was going to be great, but it's a first for me to sit back and hear a song develop). I disagree with some of the comments on here when I say that I don't think there should be any additional layering to the intro - the piano/guitar duet is lovely. It was a little awkward the first time I heard the slight tempo change, but now it's quite natural and a tasty transition. Forgive me if I'm wrong, but were you channeling Eternity-era Vincent Cavanaugh for this song? Because I'm definitely getting that vibe from you. You're much grittier and edgier than you were in your cover of "Shroud of False", where you sounded more like Stephen Wilson. It's a great delivery though - really underlines the vulnerability and doubt in the lyrics, but definitely leaving room for imminent triumph. I like the anger that comes through in your voice right before the chorus. I trust you've vanquished any apprehension about recording vocals, because you've proven that you're more than just a great guitarist and songwriter. Definitely noticed the Phoenix rising from the ashes during the solo. In fact, this whole section, including the very end, reminds me a lot of Therion. Great stuff. And damn, those drums sound much, much better than what I sent you. Whatever you did to them was superb, and, at the risk of shedding any humility I might have, I love hearing them. Glad to (finally!) hear some new stuff from you. Thanks a million for inviting me to participate because yes, as strange as it sounds, I definitely enjoy drumwork. Here's to another two years, and more opportunities to collaborate! |
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| Misery Smile by herrsolera | 3 months ago |
| iComp never ceases to amaze me. In spite of the genre and length of this song, to think that it was so well-received is truly special. To the unquestionable talents of my fellow collaborators, to those who generously helped with production advice, and of course, those who listened to this song, thanks in magnanimous amounts. For not only are you keeping metal alive, you're also collectively fueling my passion for making music. All the gratitude, -Dan |
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| Binary Luminescence by pachydermus | 3 months ago |
| Now this is a pretty crazy song. I find myself paying attention to everything; the percussion, the guitar, the distant, echoed pianos, the effects-laden voice that screams seduction - it has such an exotic taste, and it works really well. In fact, I like it more than I expected. Second listen - this reminds me of a David Lynch movie. It's like taking a surreal stroll down Mulholland Drive, walking into a half-empty theater, and seeing a burlesque, yet somehow grotesque show. I really like listening to this. And no, I have no idea who the musicians are behind this. I could guess, but I'd risk making a fool of myself. Regardless, great job. |
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| No Happy Ending by Agrippa93 | 3 months ago |
| The guitars are great - really heavy, crushing tone. The borderline industrial drums are a great touch; I wish I could pull off that synthetic texture with such grace. The vocals have a gritty edge and the lyrics are quite exacting, but the whole track is a bit too loud for my tastes. At times, it steps on the guitars in an almost distracting way. I seriously think a slight drop in volume is all that would be needed. This is definitely off the beaten path, which is always a good thing. |
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| Between Here and Then by jmassucci | 3 months ago |
| Though I was initially drawn to the acoustic guitars, it's the strings that captivate me and keep me listening. You have a knack for lyrical development too - you know how to make it work. If I had to call it something, it would be "sophisticated grunge", if that means anything. 3/4 of the way into the song, and those strings are still making me go crazy (in the good way). I love they sound. The guitar solo is great too, but that one string is spectacular. Great song - congratulations to all involved in this majestic song. |
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| Walk on Home by jmassucci | 3 months ago |
| I have to ask: is this a cover? Because not only is this song very sharp in its delivery, but it's catchy to a fault. It sounds like it was made for radio, for the masses, ready to be devoured in spades. And that, of course, is a good thing. It means I'll be listening to this over and over again. So, that said, is it a cover? If it is, then I haven't heard the original and this sounds like a faithful rendition. If not ... whoa. This begs for a lighter, a dark arena, and thousands of fans chanting the lyrics, all longing for a lost love or to travel to familiar places. The guitar work from morkjt is, of course, unparalleled and so tasty you could eat it with a spoon. The vocals are, of course, the standout element of the song, and the rest of the mix compliments our stars fittingly. The song went on a bit long with little changes, whcih is surprising, given morkjt's versatility. But that's the only thing I'd change, as everything else is brilliant. Consider me amazed. |
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| Stand for what you believe by Dave M | 3 months ago |
| It's so crazy to think that you spontaneously churned this song out. Everything about it - from the fantastic lead, to the flawlessly executed harmonies - suggest that you have been working on this for months. I was impressed before, so consider me floored now. The most powerful part of the song, that never loses intensity with each repetition, is the line "for what you believe". You nailed those harmonies, not surprisingly, and that line alone is worth the price of admission. Great, great stuff. And standing up for what you believe is a double-edged sword though. There are those out there whose beliefs are completely contrary to western ideals of morality, some who can't separate church from state, and others, in the words of Michael Caine's Alfred Pennyworth, "just want to watch the world burn". Great song, Dave. Favorited for sure. |
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| Stop And Go by vegetal | 3 months ago |
| Buenas melodias, verdurero. Me recuerdan mucho a "Talk Show Host" de Flickerstick, un grupo de rock moderno Tejano. Pero esta pieza tiene un groove electronico mucho mas detallado y sútil que ellos, y por lo tanto me gusta mas tu pieza. Mi parte favorita es hacia el final, por 12 segundos donde se acaba la guitarra "fuzzy" y solo quedamos con el beatbox y la guitarra limpia. Excelente pieza señor! |
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| Sneaking suspicion by ckrohm | 3 months ago |
| Yeah, you should get someone to jump on the vocals bandwagon for this, because it's absolutely ready for completion. | |
| [Shadows] Escape by Eidolonia | 3 months ago |
| I can't think of another song in this genre that has survived the test of time so well. It's so frequent to see metal songs get x amount of comments in the span of 8 days and then get lost in oblivion. Maybe one comment or two in six months, tops. But look at this one, a third of the comments have happened in the last four months. That's huge dude. People keep discovering this monument to metal - it's time you got some more material on here. Your fans are waiting! |
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| Writing Love Songs (In invisible ink in the dark) by RadioRebelde | 3 months ago |
| Very soothing. This is the perfect song for a casual stroll around a familiar neighborhood. It makes one want to absentmindedly wander, both physically and mentally. It has one of those melodies that, though new, feels familiar and warm. Ideally, you'd have a perfect microphone that could remove the background fuzz picked up while you were playing, but 10 seconds into the song, I barely hear it. Play on, play on. |
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| City of Pyramids by Agrippa93 | 3 months ago |
| You made many interesting choices with this song, but damn son, they paid off. There is so much going on here, that multiple listens are mandatory to really pick apart everything that makes this song tick. Upon first impression, my favorite component of this song is the way you harmonize your vocals. They bring to mind a mix between Ozzy and Layne Staley of Alice in Chains, which is a crazy, one would say impossible combination. The rest of the music is equally impressive. You've created a sort of gothic / industrial / doom metal mix that I envy greatly. This type of cross-genre fusion is the stuff metal dreams are made of. That last section with the lead guitar playing over clean counterparts is golden. The ending is tantalyzing - I want more of that section! Great stuff, Agrippa. This is definitely a song worthy of Luxor. |
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| Pogo by macoco | 3 months ago |
| Esta canción tiene mucha energía - me da ganas de meterla en mi iPod y salir a correr. Cierto que no es tanto death-metal, pero sí tiene los "hallmarks" de tus obras (melodias excelentemente refinadas, cambios curiosos pero perfectos, y un tono fabuloso). Qué buena la transición hacia el final donde cambias de nota. Estas esperando que alguien cante? La deberias mandar a o0o a ver si está interesado. Excelente pieza, maco - y el bajo suena bien sabroso. |
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| Violently Blue by morkjt | 3 months ago |
| The opening riff reminds me a lot of old-school video game music. Once the acoustic guitars enter, with the harmonized guitars alongside, it becomes something altogether different, but still great. I like the chords you're playing - definitely more than simple three-string power chords, and it sounds amazing. You know I love pretty much everything you put out, but this one really got me. The section after the acoustic interlude - how many guitars do you have in there? I'd be impressed if you said 8, but if you said 4, I'd be shocked. No matter how many are in there though, you can hear all of them, and there's still room for the drums and bass, and that's a feat! Eido is completely on the money - I'm feeling "Blood Brothers" / "The Thin Line Between Love and Hate" comparisons coming on. I just wish my stuff reminded people of Maiden - that's when I'd discover I was doing something right. Rock on, Mark. |
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| Dynamics by BenPatterson | 3 months ago |
| SG is right on - the syncopation here is great. You have aptly titled it too. With all its changes and challenging time signatures, you have created a truly dynamic song. From the jazz-influenced groovy intro to the alt-rock finale, this is definitely a new direction for you (at least, when compared to your other songs I have heard). Great stuff, Ben. Glad to see you're back to the music-making. |
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| give her back the riverbed by sonsofhypnos | 3 months ago |
| This was an onslaught. Not until the very end do we get a chance to compose ourselves. I was a huge fan of the duet between you guys - it works really well in this song, and it was great to hear the departure from lead/backup duties. But what I liked most in this song was the percussion. As something I've never been able to pull off, the synth beats were great. Though I have to be honest, I was waiting for a non-effects voice to come in eventually with something a little softer to counterbalance the rough intensity (but by now I guess you've deciphered my style, and I'm physically incapable of writing an all-heavy song with absolutely no soft parts, so consider that a personal weakness). Insane stuff, gentlemen. Congratulations to every musician, because there's a crater on the floor where my chair used to be. |
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| Overdrive - 8 - Better Than Me by Surak | 3 months ago |
| I like the guitars a lot more in this version - they have a lot more, for lack of a better word, cojones (the lead especially - I'm glad you adjusted both of them). They have a lot more power and weight beneath them, and so the mix pays off much more. But it sounds like the timing during the first verse/chorus is off, be it with guitars or vocals. It sounds like something is a half-second late in meeting the rest of the mix. I'm assuming that the previous mix (the one I commented on) was 'canon', and if so, then this one has the either the vocals or guitars just slightly "off". So basically, if the previous version was right on timing, and this one is right on sound, then the two together would be one pretty sick track. |
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| Theme from 'The Simpsons' by soulima | 3 months ago |
| In the words of Bart, "Ay caramba!" What a sensational rendition! Not only does it sound real, but as far as I'm concerned, it's an official, licensed version. Replicating this song would be too daunting for me, but here it is, perfectly executed. Well done, soul. Bravo indeed. |
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| medication by guitardogcar | 3 months ago |
| Long time no see! Glad to hear you're back in the songwriting groove. Am I right in saying that Mr. Jurado has had a sizeable influence on your own songwriting? Or is it that you've given his tune the Royce treatment? Regardless, this song is all you, be it appropriated or as a homage to a great, this has the guitardogstamp all over it. You're right about the storytelling - there are many visual cues here, weaving a very whimsical, often fanciful thread. My favorite part is the line about a note on the backdoor saying "baby, not tonight". Such a great picture. This song has a very live feel to it, which is mostly good. There are a few times, though, where your voice gets really loud and then gets really soft. This works live, gives the performance an air of spontaneity - but for repeated listens, they make me wince just slightly. Very slightly though. Your songs are gems, Erik, and this one is no exception. |
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| Overdrive - 7 - Dark Lord Rising by Surak | 3 months ago |
| I'll second Eido - it does sound like the whole thing was pitch-shifted, and now it seems a bit dissonant. It's not until the full symphony kicks in that I go "Ah, this old favorite of mine". But he and I don't see eye-to-eye afterwards. I have a bias that tends to favor original mixes (in this case your original original). Still rocks though. Quite hard. |
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| Kinoto (bass riffs for loops) by macoco | 3 months ago |
| Excelente jam, maco! Cuantos bajos compras al año? Yo no me quejo, ya que con cada compra que haces, nos regalas una canción fabulosa. A tocar, señor! | |
| QAA: black guitar by ponkey | 3 months ago |
| In what would seem like a random journey, I heard this song as it opened one of lilichi's first podcasts. What a seductive piece. I am instantly transported to a time of uncertainty, woe and neverending darkness. Love this tune and the emotions it inspires. Great stuff, ponkey. |
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| dawn of a new age by sonsofhypnos | 3 months ago |
I can tell that this will take several listens to fully digest (like another of your collaborative efforts, "Remember Me"  . But upon first listen, I can say that I liked the song, but was truly blown away by the crash just past halfway through. It has a truly graceful, operatic and heartbreaking texture to it. Greg's voice has never been more provocative, with so much emotion shining through in each note.Let's listen again. Yeah, a lot of work was put into the ambience of this song. Everyone's contributions to it have resulted in a truly otherwordly experience. This is yet another song in its own genre - what do you call this? Space-age synth hard rock? Upon second listen, I hear the choirs a lot more. Funny how well they go with Greg's voice, right? Yeah, phenomenal song, everyone. In a league of its own, and worth all the praise it will get. |
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| Why'd You Have To Go by Lightning31 | 3 months ago |
| Ah, great stuff. I like the acoustic guitars; very well-recorded and played. They work really well with the bass, drum loops and lead guitar. Call me crazy, but in my limited iComp travels, I hadn't ever heard Illuminator sing. His voice is perfectly suited for this song, and Alan's backup is excellent. That said, the Ooo's part has a few harmonies that don't sit well with me. Nothing too jarring, just a few notes here and there that seem a bit off. But aside from that, the vocals are definitely standout. Great song, gentlemen! |
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| Nebuloid by BenPatterson | 3 months ago |
| This sounds like you were playing with a 2-second delay effect on a pedal. It's a little dizzying after a while, namely because of the conflicting melodies overlapping with each other. It sounds like crazy circus music (which is, by nature, awesome), and a definite departure from the stuff you normally come up with. I love (of course) the change around halfway through with the clean guitars gliding ethereally above the soft drums. Love it, love it, love it. Interesting choice of ending - it makes me think that whatever comes after will be sinister. Very interesting, indeed. Can't wait for the "real song" you advertised too |
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| Welcome To Dying (Cover) by morkjt | 3 months ago |
| I'm with Eido on this - the ambience is very fluid; "liquid" would be a great word to use to describe the bed on which the mix is sitting. And yeah, I need to find the original for this, but I can't (it's by Onslaught, and not Blind Guardian, right?). It sounds like a hybrid of "Hell's Kitchen" (Dream Theater) and "Orion" (Metallica). The acoustic guitars are brilliantly recorded, with just the perfect amount of reverb. A truly ominous track - like knowing there's something just around the corner that you can't quite see. I like the melodic thread it keeps throughout. When you said "classic thrash" I thought something entirely different, and not this tapestry of lush guitars and smooth leads. I'll definitely be perusing the iTunes store to get the original tonight. Rock. |
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| Still in Style by UncletupeloFan | 3 months ago |
| I hear Johnny Cash being thrown around, and I am wont to agree. Though I'm too young to consider myself a fan of the man, this song definitely strikes the same chords in me as his songs. Very rural, upbeat and relatable. Love the line about a poor man's treasure being most Americans' trash. Great stuff, Paul (as usual). |
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| Loretta by UncletupeloFan | 3 months ago |
| Never heard the original, but your rendition sounds lovely. Love the play between the single and double-tracking of the vocals - creates a nice buildup. Maybe I should listen to the original artist? | |
| Handle of a Knife by UncletupeloFan | 3 months ago |
| Ah, great spoken word delivery. You have a way with words, my friend. Not only did every verse stick to a strict rhythm, but none felt forced or contrived. The final metaphor, of wanting her to hold you like the handle of a knife - was strangely surprising. I was expecting an easy rhyme like "for the rest of your life", and then you tie it to the title. Very creative and much appreciated. | |
| The Measure by UncletupeloFan | 3 months ago |
| Another fine addition to your folk collection. You're a master at creating a complex story through simple, yet clever wording. Though you're known for your poignant lyrics and heartbreaking melodies, I'm finding this one a bit too repetitive. I was drawn by the theme and title, but I feel like you stuck to the same melody and vocal pattern for a bit too long. Don't get me wrong, I still like the song, but it didn't have that masterful UTF "turn" that really makes your songs soar for me. No worries though - still a good song, and I'm still an UncletupeloFan fan. |
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| No Promises by UncletupeloFan | 3 months ago |
| You know, though this song is great as it is, an intimate guitar piece, it would work swimmingly with a bass, soft percussion, and REM-style string arrangements. In fact, this is definitely Stipe territory, or at least they share borders. This might just be my love of "Automatic for the People" talking. Great song though, Paul. I'm liking your inspirations for the majority of the songs I have heard so far - introspection, nostalgia and harking for times of old. It's not hard to see how everyone loves such universal themes. (Applause) |
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| In The Bag by UncletupeloFan | 3 months ago |
| At first, I was wondering what you were going to do with the chord progression. Two verses in, it makes perfect sense, and I'm a believer. "Oh, but mine was already in the bag" - great line, and it has that signature UTF turn. Great transition. There's something strangely wintry and almost medieval about your melodies and vocals that I can't quite explain but am very drawn to. I'd listen to your entire catalog now if it weren't for the fact that this computer can't process .m4a's (grr). Well, onto your mp3 uploads! |
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| I Know What Is...Is by TripFandango | 3 months ago |
| So you definitely lived up to your name with this song, because it's a definite trip. The guitars and drums are stellar - excellently mixed and produced, even the lead towards the very end. All in perfect balance. The vocals, however, seem to be too upfront and dry in comparison to the rest of the music. Actually, first, let me say that the lyrics are excellent - catchy, poignant, and of course, hilarious. You also deliver them splendidly, especially the chorus, which has to be one of the most punchy movements I have heard on iComp yet. I'd be lying if I didn't say it reminded me of Eminem in the way it's so in-your-face and rhythmic. It was very unexpected, but a welcome surprise for a metal song. But yes, back to the vocal production - in my opinion, if you want them to sit better on the music, then you should either add some reverb to them or mix the rest of the music similarly. I wish I had the technical know-how to explain exactly how to do that but alas, I can only comment qualitatively. But the deal is: I only noticed that when you first started singing. After the first verse, I was so captivated by the lyrics and chorus that it didn't really matter that much. Great stuff, Trip. Controversial and catchy. |
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| [Shadows] The Child, redux by Eidolonia | 3 months ago |
| So after listening to it many times over the past year or so, this song became the Canonical "Child" release for me. So today I went back and listened to your original version to see what it used to sound like (because I had forgotten since I heard it on the same day). And yeah, this version is miles ahead. Much less repetitive, definitely more dynamic, and the choir/Fitch combination gave it the haunting ambience that made it one of my all-time favorite iComp tracks. Classic. |
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| Late Inspiration by PerfectModel | 3 months ago |
| This is a piece that really showcases a musician's varied taste - from the root canal guitars that start us off to the new age textures that guide the middle. And it's that section that definitely sold me the most. The first part was a bit too shrill and could use a little more low frequencies. The third section was great, but that main melodic thread was getting too much attention and could have used some support from the rest of the instrumentation. But that's not to say I didn't really enjoy this song. It's eccentric pieces like these that inspire me to venture into more experimental territory. Great stuff, PM. |
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| Seasons by beforebeyond | 3 months ago |
| Now I'm getting a Barenaked Ladies vibe from you (is there anything in this genre that you can't do?). Those beautifully recorded guitars could definitely soothe the savage beast. I like how you lead the listener in one direction with the first 3/4 of the song, and then bring in the guitars for a triumphant finale. The break that leads into it was just a tiny bit awkward - my guess is the timing was off by a fraction of a second, but that's just me. This song is, no doubt, another gem from you. I'll be keeping a closer eye on you (and thank Eidolonia for recommending you in the first place). Keep it coming, -Dan |
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| The Longing by beforebeyond | 3 months ago |
| Again, you continue to amaze me. Everything works perfectly in this song - the progression, the sounds, the synths ... My favorite part is the repetition of "of the longing" towards the end. Powerful ending too. How you've managed to create such an organic sound without a professional producer to back you up is something I can't quite comprehend. I've thought of indulging my pop-rock wants and write songs in that vein, but ... now that I've heard this, I'm afraid I won't be able to. But I'll try, once my current projects are squared away. And then I'll come to you for advice. |
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| This Is Goodbye by beforebeyond | 3 months ago |
| I will agree with Eidolonia, and say that artists like you and rsorensen (do check his stuff out) put most of us to shame. In fact, I feel ashamed of listening to this song at work, because it deserves my undivided attention. It's like I'm insulting this song by typing the comment as I listen. But I digress - "This is Goodbye" is "This is Amazing". I don't even like the Postal Service or any of their contemporaries. But I am not lying when I say this is fantastic. The way you have seemingly filled every nook and cranny with exactly the sounds they deserve is beyond admirable, it's awe-inspiring. This is what I think The Album Leaf should sound like if they were to have a perfect vocalist. Huge. Just huge. |
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| Shadows by beforebeyond | 3 months ago |
| Wow. This sounds a lot like a mix between Jars of Clay (namely because your vocals sound a lot like Dan Haseltine), and the pop-rock sensibility of bands like Dexter Freebish and Collapsis. In fact, I can't decide if you sound more like Haseltine or Collapsis' Mike Garrigan. If you haven't heard of Collapsis, I suggest you buy (or download if no longer available) their album "Dirty Wake". Yeah, this song is great. Between the piano, lead guitars delicately adding texture to the rest of the mix, and your embracing voice, I am lost in this song. It has everything I have come to love about soft, pop-rock, and it's so refreshing to hear it on a site like this. I'm definitely moving on to the rest of your songs, but consider this one favorited and enjoyed. Great stuff, beyond. |
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| Falling Version 2 by RavensRequiem | 3 months ago |
| Ok, hats off to you guys with this song because it's fantastic. The song structure is very polished and reminds me a lot of (for obvious reasons) Evanescence. whose songs I really like. At times, I'm surprised that it was made with only loops - you could have fooled me. Though I haven't heard the first version, I want to say this one is flirting too much with the high end. The overall mix could use some lower frequencies, namely because the drums seem a bit too shrill, and tend to invade other sounds (vocals and lead guitar). Aside from that, this is a great song and a promising duo. Keep 'em coming! |
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| Suffocation by juzcook | 3 months ago |
| Huge. As an instrumental, it's great, and with some nasty vocals this could explode. Do you ever plan on adding a vocalist to your songs? Because though they're great as instrumentals, they run a little long without someone singing to vary it a bit. But that's just jealousy, because I can't make instrumental songs this heavy or engaging. Keep the metal alive, juzcook. |
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| Edgewood Point by BossHook | 3 months ago |
| Wow. I can't remember having this much fun listening to a song. It's so feel-good and bouncy that I just want to put on my dancing shoes and cut a rug until the sun comes up. Seriously, the country/rock sensibility you've created here is amazing, and you never really make the threshold between them apparent. The turn from the chorus back to the main melody is always surprising but never catches me off-guard. The organ solo was also very tasty. Yeah, not my usual fanfare, but a fantastic song nonetheless. Downloaded, favorited, much enjoyed - some grand applause your way. |
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| Cold silence by THROWINGSHAPES | 3 months ago |
| This is really something. It reminds me slightly of Subterranean Masquerade, especially the saxophone and the interesting melodic sequences you've created with | |