even though you liked the second one more i was more fond of this? i thought it developed itself more over the song, the second one, my problems with it were first, i dont think you had a nice enough synth sound to stand on its own for so long at the beginning. i dont know i thought there was almost something comedic about it which i dont think was what you were going for particularly
my second problem with it was as i said i dont feel it developd enough, you had the buildup to the ridiculous glitchy breakcore shit in and then you had it, and then it dropped out a bit, and then came back again with what on first listen seems like no real difference... it doesnt interest me in that way
i did like it when everything kicked in but somehow i just felt after a while it was begging for like a big 'WHUMP WHUMP WHUMP WHUMP', just on the beat, under everything. or maybe a big ludicrous snare doing the same thing. idk that might not turn out well but its what i wanted
the first one, like i said, i liked it, youve got an aesthetic there but it is very very datach'i, and in kind of a spindly and veneer-ish way i dont know if you like that or not
ps the tangerine dream ish thing you posted on your soundcloud is cool
i have actually worked a lot on all three of those tracks since then, but i'll keep your advice in mind.
the tangerine dream thing has like grown into this 8 minute long thing that like eventually builds into this massive resonant gloriously noisy mess but i have no clue what to do with it
Incantation was a good match-up for it in style, and I just feel that putting it where it is was really effective.
Just started Wasteland Sutra. Altars didn't make as much of an impression on me, but that might just be because of it's length. Undead, I liked Undead.
Sort of a progress update: I have like 10 tracks done, with three pieces in the works, of material i feel is releasable.
the problem is that they span a very wide range of things, mainly consisting of experimental industrial/noise rock kinda jam things, some rather extended semi-improvised homages to various 20th century composers, and two industrial tinged dub techno tracks.
Sort of a progress update: I have like 10 tracks done, with three pieces in the works, of material i feel is releasable.
the problem is that they span a very wide range of things, mainly consisting of experimental industrial/noise rock kinda jam things, some rather extended semi-improvised homages to various 20th century composers, and two industrial tinged dub techno tracks.
The dub techno tracks will, with a bit of tweaking, fit in with the jam kinda tracks, which also have some kinda dubby things going on. one of the improvised things will have to sand on it's own because, as mentioned elsewhere it is 40 freaking minutes long.
i am thinking of using the two other jam things to bookend the album, with the first, which has a kind of early computer music kinda feel to it, will kick things off, and a modified version of that one tangerine dream kinda thing that i posted way earlier will go at the end (*which is most fitting as it kinda disolves into a huge noisey mess at the end, completing the cycle as it were*) the album will generally increase in tunefulness as it goes on, with rhythms kinda forming out of the noise, and more melodic musical ideas forming out of that.
One thing, I think you should try adding a bit more structure into your tracks.
Like some time after all the parts of the track have kicked in, try removing a few elements, and then gradually reintroduce them after a bit with a filter sweep or something. (*this is just a suggestion, it's not like an exact science or anything*)
It doesn't have to be anything really major, but it'll help add a bit of motion to the track and make it feel more alive.
I have tried that before and generally am not very good at it (which is also why until very very recently I was usually hesitant to clip 3 minutes with track lengths).
yeah i havent listened to your stuff in a while (sorry but i havent been around all that much!) but i went and clicked that youtube and as soon as it was done i went and started it again. like i didnt want to pick anything out or listen again for a critique i just fuckin liked it
i think this does have a kind of structure to it, stuff does come in and out of it in a way, i think with this track its alright but i agree with naney in that often your stuff has been repetitive and doesnt really develop into anything... like albums with track after track like this will get boring. you gotta mix it up
but i really like this and i actually dont know what to tell you to do with it. except maybe i just want the entire beat behind to drop out and have the pipes and stuff just going by themselves, jst drop it for 2 or 4 bars or something and then bring everything back in. that would be good, like three and a half minutes, four, into the song, just to mix it up
thats my opinion though. might not work. you judge. i think the track, now, is real good, personally
No it's fine, I understand that not everyone's always here.
I will probably give the track a light touchup at the very, very least before it sees release as part of any kind of larger project (same with "Wide Ocean Shot"), so I will keep that in mind.
For the record, despite the track's name, I haven't the slightest idea what instrument that is. It's a sample from a turkish funk song by one Mustafa Ozkent.
I've created another one of those not-quite-dance tunes. I think I'm beginning to create a--dare I say it lest I jinx myself?--coherent aesthetic, at least for the album these will be on.
Funny thing. If played in Windows Media Player, the album artist will be listed as Lightex (what I went by in 2011 for a time), and the individual tracks will be credited to Dewerks (I don't remember when I used that one, I think that's the moniker Katrika helped me think up to give you an idea of how slavishly old this thing is). The actual MP3 files credit the tracks to DJ Spain, because if you think I'm bad with multiple names now, you ain't seen nothin'.
So, I'm not sure if it's of interest to anyone really, but if it is, it's there. A lot of the work on the album--while I'd hesitate to call it good in any capacity--has a very dark, mysterious quality owing mostly to what I sampled for it (a whole lot of weird Youtube clips mostly, with the help of the now long-defunct Dirpy website).
Also fair warning. "Fonekahl" gets very loud at points. It samples that hoax phonecall from several years ago where that dude uploaded a "phone call" to Youtube he claimed was of someone being murdered. I don't think I actually knew what this was at the time, but it's hard to be certain.
I really don't like the song and it's included here solely for completion's sake.
I have finally decided what to call my song-based project, and what I shall call the album that I shall release under that moniker when it is completed. I have at least two albums' worth of songs at a satisfactory state of completion; all that is left is to record what I have written and embellish as necessary.
Similarly I have two albums I am working on cocurrently (tentatively entitled tunes from sands, whence "Pipes of Astra-Khan" is from, and For Your Face & Legs Also, from which "Night Train to Gahonnis" is from).
Also you should like
share those names because names of things are cool.
Comments
the first of two
this is the one i like more.
oh well here's a link
https://soundcloud.com/blixty-slycat/who-makes-music-in-the-desert
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
http://soundcloud.com/blixty-slycat/soul-fire-i-ii
Be sure to listen to it all the way through.
https://soundcloud.com/blixty-slycat/the-view-from-sunday
anyone who can identify the vocal samples (not the outro) gets +10,000 Mopoints.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
There's no way anyone would recognize it, but it's from "Hive" by Earl Sweatshirt.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
the problem is that they span a very wide range of things, mainly consisting of experimental industrial/noise rock kinda jam things, some rather extended semi-improvised homages to various 20th century composers, and two industrial tinged dub techno tracks.
The dub techno tracks will, with a bit of tweaking, fit in with the jam kinda tracks, which also have some kinda dubby things going on. one of the improvised things will have to sand on it's own because, as mentioned elsewhere it is 40 freaking minutes long.
i am thinking of using the two other jam things to bookend the album, with the first, which has a kind of early computer music kinda feel to it, will kick things off, and a modified version of that one tangerine dream kinda thing that i posted way earlier will go at the end (*which is most fitting as it kinda disolves into a huge noisey mess at the end, completing the cycle as it were*) the album will generally increase in tunefulness as it goes on, with rhythms kinda forming out of the noise, and more melodic musical ideas forming out of that.
at least that is the general idea....
I was gonna say that the claps were too high in the mix, but as i listen i'm really liking the slightly raw kinda feel it gives the track.
Like some time after all the parts of the track have kicked in, try removing a few elements, and then gradually reintroduce them after a bit with a filter sweep or something. (*this is just a suggestion, it's not like an exact science or anything*)
It doesn't have to be anything really major, but it'll help add a bit of motion to the track and make it feel more alive.
In any case I will keep your advice in mind.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
I will probably give the track a light touchup at the very, very least before it sees release as part of any kind of larger project (same with "Wide Ocean Shot"), so I will keep that in mind.
For the record, despite the track's name, I haven't the slightest idea what instrument that is. It's a sample from a turkish funk song by one Mustafa Ozkent.
I've created another one of those not-quite-dance tunes. I think I'm beginning to create a--dare I say it lest I jinx myself?--coherent aesthetic, at least for the album these will be on.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Part 1
Part 2, which is shorter.
anyone who knows where that vocal sample is from gets 10,000 Mo Points.
An old upload of my very first released album, This Too is a Mystery, from 2011. The album itself is from early 2010 according to the description on the long-defunct Lightworks website.
Funny thing. If played in Windows Media Player, the album artist will be listed as Lightex (what I went by in 2011 for a time), and the individual tracks will be credited to Dewerks (I don't remember when I used that one, I think that's the moniker Katrika helped me think up to give you an idea of how slavishly old this thing is). The actual MP3 files credit the tracks to DJ Spain, because if you think I'm bad with multiple names now, you ain't seen nothin'.
So, I'm not sure if it's of interest to anyone really, but if it is, it's there. A lot of the work on the album--while I'd hesitate to call it good in any capacity--has a very dark, mysterious quality owing mostly to what I sampled for it (a whole lot of weird Youtube clips mostly, with the help of the now long-defunct Dirpy website).
Also fair warning. "Fonekahl" gets very loud at points. It samples that hoax phonecall from several years ago where that dude uploaded a "phone call" to Youtube he claimed was of someone being murdered. I don't think I actually knew what this was at the time, but it's hard to be certain.
I really don't like the song and it's included here solely for completion's sake.
Enjoy.
Also you should like
share those names because names of things are cool.