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Tags : | Fusion | 9.97 MB

Description : This started out as hip hop but quickly turned into something much more beautiful, psychedelic and epic though I've still kept the hip hop drums plus added many others. There is a quite a lot of lead bass guitar, sometimes layered, which is partly why I'm dedicating it to Evisma as he loves a good bit of bass layering and has influenced me. Also: electric guitar, resonator guitar for the obligatory slide solo (you've got to have it - it's the law in NomadLand), big pads plus haunting granular synth choir voices, two very different types of programmed VST guitar, fat synth basses, a few drum loops and various programmed acoustic drum kits. There's some deep chill and funky grooves in this constantly changing journey of unravelling sonic mysteries though it gets much more uptempo and rocking in the second half. Interesting thoughts, reflections and ideas are always welcome in NomadLand. Warning: fat beats and deep psychedelic sounds ahead...

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  1. ettotrink
    ettotrink on Wed 28th Nov 2018 - 2 years ago

    it's a great journey. I like the Beat a lot. The song grows constantly changing, and every moment does not get bored, rather intrigues. The final as it takes in these cases: not at all abrupt, but soft as a parachute that opens for a soft landing. Congratulations!

    StaticNomad
    Reply by StaticNomad

    Thanks for checking out this old one. Yeah, there are some nice, laidback grooves in this, plus some fatter ones later on.

    I aim for my music to be intriguing and constantly intriguing. I kind of have to make it that way as I don't make pop music or simple songs. And I don't do too much lead playing.

    I've since updated this track so the ending is slightly different. Not quite the bookending of the track, as in the version you heard.

    Thanks again/.

  2. mrwolf14
    mrwolf14 on Wed 29th Jul 2015 - 5 years ago

    Hi MrNomad,
    I am probably 9k years to young as well...if we measure ourselves in millenniums probably we are "almost the same age". Nice title...
    The intro is amazing: love these drums (hip-hop? I wish hip-hop music had this type of drums...)
    First "short solo" is sweet (due to the chorused sound): liked it.
    Bass riff ~2:12 is a good one: catchy at the right point.
    At 3:30 the bass gets "bassier": the riff is bit "lost" but the line really sets the atmosphere for the next section.
    I like the "muted guitar chords" ~4:00 (not sure it is really a guitar...but it sounds similar to this).
    The "synth" bass ~4:50 is a nice change: good intro for the resonator solo (according to the law in NomadLand...funny).
    Clever use of the delay ~6:20: simple riff but with the repeated notes it gets "spacier".
    Killer bass riff ~6:50 (simple but effective).
    At 7:50 we get a change in the pace: honestly I was expecting it since I have seen the waveform... exactly what the song needed at this point. Well done.
    And now a nice "relaxing section" which sets the scene for the distorted guitar part (which is a bit "too short" in my humble opinion).
    Dreamy synth pads...and we come to the end...
    Good. Very good (IMO 9.5/10 ... almost a perfect song).
    Again a fav for you.
    Ciao, Domenico

    StaticNomad
    Reply by StaticNomad

    Hello, Mr W.

    Sorry for the slow reply - I haven't been using the site much this week.

    Only Evisma really knows what the title is about. It's a fun one I didn't come up with but borrowed from someone else on the site.

    Yes, nice opads in the intro and then we get some lead bass backed by programmed hip hop drums. Hip hop does have drums exactly like that. I'm using the Hip Hop EZX there, which I've used a lot in the last 6 months. Probably not really your sort of drum EZX but I like it.

    "Bass riff ~2:12 is a good one"

    If you listen closely, you can hear that lots of the bass guitar parts are layered so sometimes two lines playing either the same thing or sometimes quite different things. And there's often synth bass underneath too as my low end from my bass guitar these days is really bad (must get it fixed or buy another one).

    "I like the "muted guitar chords" ~4:00"

    That's a VST guitar with various effects on it that I use quite a lot in this. I like it.

    ""synth" bass ~4:50" seems to be popular with other people as well. A powerful sound.

    " Clever use of the delay ~6:20"

    Yes - I knew I needed some sort of key change or new chord progression. Lots of delay on the guitar part and I like the way it moves higher.

    "Killer bass riff ~6:50 (simple but effective)."

    That's only there as a way of giving the listener a rest from all the lead work and as I prepare to move into the next section.

    "7:50 we get a change in the pace"

    Yes - there's a drumless break and then some fast sort of psychedelic jazz (now that I've changed key). Listen to the drums and you can hear they're hip hop ones.

    "And now a nice "relaxing section"

    Chillout lead bass guitar work to go with the trippy vocal synth part.

    I will go back and try to make the "distorted guitar part" (not guitar, just bass) longer. Valvedriver thought the same thing and I kind of agree.That might be the coolest part in the track.

    "Dreamy synth pads"

    Maybe I will make that section shorter so not return to the same intro.

    Thanks for the 9.5. I wonder what I would have to do to get a 10, or if I ever have. If so, I wonder which track you think is a 10.

    Thanks again, take care.

  3. crucethus
    crucethus on Thu 9th Jul 2015 - 5 years ago

    So the first listen and eview will be about the emotional feeling this track evokes and not the technical terms which will come later. I think what makes your music so interesting is that the bass is always moving , the drums are not overpowering or underwhelming but like goldilocks said to the third of everything.."it's just right". That being said golidlocks is a bitch sometimes for just taking other peoples stuff. You don't really take other peoples stuff, you invent your own sounds that are very unique to you. And thats hats off to yah for that, though I don't wear hats, if I had one...you know what I mean. tHis song starts out in Cminor. I just came up with a Pad sound that I added distortion too that actually fits so well with this tune. I should Share. Ahh I just entered the key change to D minor. very subtle actually. You may not have the years of musical training behind you but your musical instinct is in the genius level. Nice Fuzzy guitar solo BTW. End on that last note, the extra quiet sounds are not needed.
    Always a fun listen my friend.
    cruiserweights

    StaticNomad
    Reply by StaticNomad

    9,000 greetings to you, Mr Cru Dawg.

    Thanks for Cruising by my little pop tune.

    I'll be honest and say that I kind of re-featured it as you hadn't commented and I wondered what you made of it. No new tracks from me currently as I'm struggling over a few (and going through a very fallow musical period) so thought this was a good one to re-feature.

    "the bass is always moving"

    Note all the lead bass g in this (hence the Evisma dedication) though there's always synth bass underneath as that lead bass is way too thin so bottom end is needed to beef this up.

    "I don't wear hats"

    I do (one at a time) so I'm taking mine off right now and doffing it towards myself to save you the bother.

    "you invent your own sounds that are very unique to you"

    Yes and no. I use a shitload of presets (remember: almost all my synth work comes from Reason) and never start with only a basic patch and make it more elaborate. I'm good at controlling a few synth parameters and using them effectively though I'm not at all knowledgeable about synths and their programming.

    I guess I also come up with some unique bass, guitar, and banj sounds through my processing of them but would say the main sounds I "invent" are the combination of all of these different sounds into what sometimes sounds like a single, layered sound. Difficult to explain.

    Subtle key change to D minor was me realising a key change was required as the track was starting to feel a bit monotonous. D is my main key so very easy to slip back into.

    "Nice Fuzzy guitar solo"

    I guess that would be the bass guitar with distortion plugin turned on at around 9:24. It's just the same sort of playing as the section before but with added distortion and crashing drums. All part of me extending things more and more but I've made it sound like it's a new part

    "your musical instinct is in the genius level"

    Hard to know quite what to say to that except thanks. I don't know what I'm doing but I'm able to listen and hear quite deeply within riffs and grooves and then find interesting ways to work off them. So many limitations and failures but with enough time and editing I can come up with things that make me sound better than I really am.

    "End on that last note, the extra quiet sounds are not needed"

    I will have a good think about that.

    Take care of thyself.

  4. djtheobserver01
    djtheobserver01 on Sat 16th May 2015 - 5 years ago

    YO yo ,
    i keep it to 2 words.

    Nice track !!

    StaticNomad
    Reply by StaticNomad

    YO yo yo,
    i increase it to 3 words and 3 exclamation marks.

    Nice comment bro !!!

  5. Tumbleweed
    Tumbleweed on Thu 14th May 2015 - 5 years ago

    Hey Static...just stopping back at your place a minute with a further word of thanks for the helpful info on that mix I had posted...Had a little time to solo & analyse the tracks this afternoon...To my great surprise a majority of the issues were with a string pad track (that would usually be about the last place I would have expected)...I have had a stern chat with myself and am now lashing myself about the head and shoulders with a wet noodle....Will update my Sound Cloud version if I find time to remix....In the mean time I`ll have another listen to this one....thanks again...Ed

    StaticNomad
    Reply by StaticNomad

    No problem.

    Audio pops piss me off no end so I'm happy to point them out and have done so a good few times in Looperman reviews. They're really inexcusable (to me) in my music so I have to get rid of them as they're pure sonic errors.

    I'm currently working on a dual female vocal track and have spent the last couple of mornings removing loads of audio pop edits. The embarrassing thing for me is that I made the track four years ago (just doing an update now) and I cannot work out why the hell I didn't remove all of them at the time. I can't believe I couldn't notice them and you know what I'm like for scrutinising details.

    I guess what I'm trying to say is that sometimes people can miss these seemingly obvious errors in their own work so no one should fear pointing them out.

    Interesting that Orlando pointed out those errors in your track (though without any time references) but he couldn't hear the audio pops that I pointed out in his most recent track. People have said to me before that it might be something to do with Looperman/web playback but I'm not so sure. I can only go on what I hear, especially when I play it back a few times and the pop is in exactly the same place as before.

    Glad you got them fixed.

  6. silverman
    silverman on Thu 14th May 2015 - 5 years ago

    I feel so unqualified to speak.
    But I do have some qualifications.
    Two ears and the love of music sound noise the breeze in the trees and the sounds in the grass and on the beach.
    I mention those things because this just feels so natural ... so comfortable.
    Not sure what it sounds like but it feels wonderful ... kind of wraps around my synapses in a spiritual kind of way.
    Lovely.
    Three favourites today and all very very different from each other.

    StaticNomad
    Reply by StaticNomad

    Greetings.

    "just feels so natural ... so comfortable"

    Thanks. I do try give my tracks some balls and attitude and grit and grime. But I also try to get things to be very smooth and easy on the ear. Not wet, easy listening stuff but just flowing and fitting together in a seamless and seemingly natural way, even though there's a massive amount of editing and stitching things together going on in all of them.

    "wraps around my synapses in a spiritual kind of way"

    That sounds good. Might be to do with the very psychedelic, sort of heavenly, ambient pads I use here. There are only about three (all quite different) and one is a female vocal synth choir patch. Sounds definitely taking us out there into the spiritual unknown.

    Thanks.

  7. Tumbleweed
    Tumbleweed on Thu 14th May 2015 - 5 years ago

    I see you have some very in-depth commentary on just about everything to do with this one Static...so there is little an old guitar guy could add that would be at all informative..Having played bass for a few years, the bass grooves you have going here are welcome music to my ears...can`t imagine you doing anything boring (even if you never changed key) and have to admire your attention to detail, not only in instrumentation but in the way the arrangement evolves...I do like the power drums and the outro leaves me with an oh yeah feeling...You do it well and I enjoyed being a listener...much respect to you....Ed

    StaticNomad
    Reply by StaticNomad

    Greetings.

    I never know quite what people will pick out from my tracks as interesting to them. Either favourite parts or areas for improvement. My stuff is so dense that there's so much that could be chosen though I don't mind hearing multiple times that a particular section was a highlight. Some bits just do stand out as being high points, as much as you try to raise the quality of everything else.

    Yes, there are some decent grooves in the lead bass work though the anchoring stuff is all done by synth bass. Lead bass intentionally doesn't have any low end and is functioning much more as guitar in this. Unusual but it's the kind of thing Evisma does a lot, which is why this track is dedicated to him. Doesn't sound at all like his music but it's not supposed to - there's just the lead bass connection.

    "have to admire your attention to detail"

    That truly is how I make almost all my music as I don't plan this stuff out beforehand. I jam, see what I get and closely scrutinize and edit parts and then get inspired to add more and more.

    Quite often, the attention to detail is me just fixing stuff that's not working properly. Then, in doing the fix, I come up with something creative and have to include that and that's one of a good few reasons for my tracks being so long. I just keep stretching out what I've already got. I love to try to get the most out of the parts I've recorded though often have to start a new track so that things don't end up being 20 mins or more.

    "the outro leaves me with an oh yeah feeling"

    That's a good way to sign off. I'm not entirely happy with the very final ending but it's a nice enough return to the start of it all so I guess it will do.

    Thanks for the respect.

  8. DesignedImpression
    DesignedImpression on Thu 14th May 2015 - 5 years ago

    Yo, Wsup SN, My favorite part is the very cool guitar screaming at 9:24. That makes me feel great man, Thank you for expressing that the way you did.

    I noticed when the track hits 9:00 the master volume gets a overload feel. I dig it, just letting you know it's noticeable a bit too much. It's the delayed guitar it starts exactly at 9. Goes with the following distorted guitar though.

    Is that a voice sample or synth? Interesting sound and affect to the track. Dig the chillness of the beginning half of the track. Cool drum work in this one. Really clear and visionary. The music as whole does take you beyond our own world and into another place. I can't really describe all the pieces you put into this but I can say every piece carefully played sounds great man. The switches is great too. When funk hops.

    Thanks for sharing, I dig it. How you been SN? Peace.

    StaticNomad
    Reply by StaticNomad

    Word up and wassup, DI.

    I'm quite happy to hear of your problem with the new lead bass guitar section starting on 9:00. It's one of those transitions that I just couldn't get quite right.

    I'm not sure if there is a problem with the volume jumping a lot but I will listen again. I seem to remember that there's a problem with the synth choir cutting out a bit so that it feels like a bit of an abrupt jump to take us into that new bass guitar part (one I very much enjoy). I should go back and fiddle to see if improvements can be made.

    At 9:24 I keep pretty much the same bass riff going (with some variations) and simply turn the plugin distortion on. No guitar there, just bass as it's doing all the work of the guitar and we have synth bass underneath for low end (as in most of the track). I love to take things a bit badass and I think I've got that section labelled as something like 'euphoric bass riffage' in my Reason project. Definitely a highlight.

    And then the distortion gets automated off as we drop back down into another variation on that bass playing.

    "Is that a voice sample or synth?"

    Technically, it may sort of be both. I'm just using one synth patch but it's granular synthesis so look up what that is, if you don't know. Basically, the waveform is, I think, made up of tiny little pieces of audio. In this case, it's female choir voices. Powerful sound and I apply pitch bend at various points to make it weirder and more psychedelic.

    Yes, pretty damn chilled for a few minutes and then the heat gets turned up a bit. Got to happen so that things don't get boring and so that things can go up and down in intensity and mood.

    "Cool drum work in this one"

    Yes. Yet again, I'm using a couple of hip hop kits from the Hip Hop EZX. Great stuff but this only sounds a bit like hip hop in places. If you listen closely you can hear that some kit parts are clearly hip hop-associated drums though I add some other rock and metal kits as well.

    "How you been SN?"

    I've been OK thanks, just finishing up the editing and mixing of another female vocal jazz track from 4 years ago called The Second Law Of Self Love. This one's better than the jazz female vocal one I posted last week (Inner Beauty) and will be arriving in 128K MP3 format at a Looperman website near you in a few days. Two singers this time and the swinging jazz is very deep.

    Thanks for your interesting thoughts.

  9. ronabo
    ronabo on Thu 14th May 2015 - 5 years ago

    All I can say is .... Wow. The drums are awesome. The bass is awesome. The whole track is awesome. Love this groove.

    StaticNomad
    Reply by StaticNomad

    Hi.

    Respect to your wow.

    Drums and bass are the foundation of so much of what I do. I've really only ever made a couple of pieces of music that don't have a good, solid groove. I'd actually like to make more and am about to start working on one soon. It's an ambient chillout remix of a vocal track which does have a good groove. I'm kind of removing that groove in place of ambient chill.

    Anyway, I'm a bit of a slave to a good groove and I enjoy the ones in this track.

    Interesting how the drums don't really sound like hip hop anymore (what I started out with) even though there are at least two hip hop kits in here.

    Thanks.

  10. ValveDriver
    ValveDriver on Thu 14th May 2015 - 5 years ago

    This is definitely a bass driven tune. Not to be confused with a Valvedriven bass tune. Or, a tune called Valvedriven.

    It's an atmospheric one. Much wider, in my opinion, than some of your others.

    There are some nice, subtle transitions. Even some not so subtle, but effective.

    The synth at 4:50 has a nice contrasting texture in comparison to the surrounding textures.

    There's the power of the slide!

    7:36 nice break. I like what you did with the vocal samples. Some nice effects.

    9:24. Enter the distortion! I'm digging this. Personally, I think it could have been doubled in length.

    There are those sweet vocal pads again to bring us to the outro.

    This is kind of a brief review, I know. I plan on coming back for a more detailed and thorough review that this track deserves.

    Overall, I really enjoyed this ride, and plan on coming back to do it again!

    StaticNomad
    Reply by StaticNomad

    9,000 greetings, Valvebro.

    It's just as well you and Evisma both liked the nice tracks bro dedicated to you. 'Twould be a shame if they were shit. If anyone ever dedicates one to me, it better be at least half decent so that I don't have to say it's shit. Not that I'm that rude. At least not online.

    I think you may feel this one is wider than others not because I'm using more stereo widening FX (I use them a lot anyway) but because of the bigger reverbs and delays on one or two of the pad sounds. And the same (global) effect is on other instruments eg the VST guitars.

    Not all the transitions are perfect. I always get some lovely ones in while others are just never quite right. Very occasionally I love/like all of them.

    Yes, badass synth at 4:47 that's so damn good I include it in the track for the huge total of...13 seconds. I tried to get it in elsewhere but it just didn't fit. I have so much to cram into my stuff. Just wait until I get my next, hopefully much more powerful PC. Then it's gonna be crazy layer city (or something) that you'll need an extra brain to process.

    Kneel in awe at the power of the slide! Disrespect it and you will face its shimmering, microtonal wrath.

    A slide solo is the law in NomadLand. Why don't I have one in every single track? Well, I'm a badass rebel, even in my kingdom, so I like to break the law.

    7:36 vocal synth (technically, the samples are the granular synthesis method so it's really just a pure synth to be used like any other) comes to the fore as the key changes. Check the bits of pitch bend on it (and the other strange pad) to make it weirder and more trippy psychedelic.

    I think you're saying you wanted the distortion section to be doubled in length, not the whole track, though I could probably do that too. Perhaps but I edited hard and succeeded in getting this under 11 mins, partly so I can fit the whole thing on the site at the majestic MP3 rate of 128K and partly so it doesn't just keep going on and on to 13+ mins.

    Last time you suggested I double the length of a distorted section (towards end of Valvedriven) I did just that. Cos I'm an obedient chap.
    But I think I'll have to leave this one as just the medium length teaser otherwise I will go over 11 mins.

    Yes - druggy synth ladies to take us out as it switches key back to the intro. Another bookended track. I could listen to that vocal part all day. Hypnotic stuff...

    Brief but good review...

    See you later for another nine millennium trip condensed into just under 11 mins...

  11. Orlando51
    Orlando51 on Wed 13th May 2015 - 5 years ago

    Full and rich sound as always. Those 10 min were over in a flash...I know this could be dragging or even boring to some people, but I enjoyed the richness of the sounds and I found lead bass as a highlight here! This one is a favourite!

    Compliments_____Orlando

    StaticNomad
    Reply by StaticNomad

    Greetings.

    Good to hear it didn't feel too long as it's something I often worry about. There are some very nice sounds in here and I even considered sticking it in the 'ambient' category. Still not fair that there isn't a 'psychedelic' category. Especially when there's 'moombhaton' (what the hell is that?) and 8-bit chiptune.

    This actually reminds me a little of a long track you uploaded something like 6 months ago. Not the same sounds but a related vibe.

    I think the bass guitar in this sets it apart from other related tracks in this sort of genre. You'd normally expect the bass to just be low end (as I do here with the synth bass) but higher lead bass guitar is unconventional. I guess the slide playing is also a bit unusual for this genre.

    Thanks again.

  12. promenade2239
    promenade2239 on Wed 13th May 2015 - 5 years ago

    Hi again and many thanks for reply.

    Firstly I am sorry for that negative review tone. I didn't realize it will ever sound like something that negative at all! Only tried to share some concepts, ok maybe from too much negavive perspective . I can't really complain about your music because you always post high quality tracks. I would say again this is some great music very unlike from the other stuff posted on the site.

    The only problem is that when I need to think too much when going into the details of the arrangement I may do not like some single sounds, which is often the case here on looperman. For example: from the perspective of the real acoustic piano sound the artificial piano used normally in looperman electronic or cinematic tracks will always sound computerized and silly. So sometimes I feel upset and am posting weird or ridiculous track comments.

    Anyway I do not really want to make you shorter tracks at all, just trying to suggest using slower or faster tempos than your usual - because it may really affect the form. There's absolutely no need to use any pre-defined songs structures (but it can be a great exercise anyway). By saying that 'there's nothing happening' I do not mean that it is boring. I never feel bored listening to your music.

    I know there's much of new synths sounds and impressive sonic elements on each of your new track, new guitar riffs and more but from the global perspective I think you still make the same song. This particular musical form that you're using (I do not know how to label it correctly, maybe 4/4 kind of 8- or 16- bar blues) was probably something I heard before from you many times, dressed in different sound-image. I see that you're not really interested into the form exploration, I mean: in any specific traditional classic sense. That's why I said that there's no improvements. Again this is very subjective personal opinion of mine. I do not find discussing details of the arrangement very useful when there's so much things happening. Pointing them will probably take years of ceaseless commenting.

    I know that working alone is harder so I sometimes download acapellas and loops as well and try to work with them. Also I did remixes and sometimes I can find someone to make a collab with. But of course it's not going to work every time.
    So this is also good way to learn when working with other's stuff. I do not think it takes anything from the originality of my work.

    Again I am sorry for a strange and negative tone of the previous comment, which was totally unintentional! Also I think you go too far in analysing and exploring what I exactly meant. Probably I am unaware of some important subtleties of the language. I freely discussed some possibilities of how different your music may sound instead of pointing things I liked.

    Ok, so now I am going to play your track and listen to the music itself instead of thinking too much (I want to take it with me but sadly it's not possible).

    StaticNomad
    Reply by StaticNomad

    Hi.

    Your review wasn't too big a deal but I worry about my musical inadequacies and wonder how long I can make interesting stuff without becoming boring or repeating myself.

    Most important is to know that I have large musical limitations. I'm not a classically musician like yourself and I have poor pitch, can't sing and know little about music theory. I only know the major and minor scales and rarely think about them. I don't know modes but I'm sure I use all sort of different ones just from playing with note combinations.

    I have problems doing things like changing key, which is why many of my tracks are in the same key. This track has a key change (to D, my favourite as that's what my guitars are tuned to) but I don't think I've done it very well.

    I've always felt a bit of musical impostor as I don't really know what I'm doing. I try to focus always on what I can do and believe I have an ability with sounds that many people do not have. I have big ideas and am good at hearing relationships between sounds. I can groove quite well on my instruments, which helps when you want to make music that grooves.

    I focus on the change in sounds and mood rather than understanding how to progress chord sequences. If you're listening for those sorts of changes, you may always be disappointed. I don't know about the cycle of fifths and find all music theory really hard work and no fun. I'm also bad at maths so music theory seems to me as being like algebra. I prefer to listen and feel and groove and see what I get.

    I probably cover up my music theory failings by making sounds and instruments do a lot so that it doesn't sound like I'm playing in one key most of the time.

    I know how to get an Eastern sound by using semitones but don't know any Eastern scales.

    I don't know how to describe the musical form you say I use. It's 4/4 but I have no idea if it's 8 or 16 bar blues.

    "you're not really interested into the form exploration, I mean: in any specific traditional classic sense"

    I don't know how to! I could maybe learn from other musicians who know this stuff but I've never spent that much time working closely with them. I don't count jam sessions (I have done many of those).

    " nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove)."

    The bass groove is there as a break from the higher frequency guitar parts, then I move to other, newer parts. It's just a way of separating sections so the listener gets a rest from the busy, top end melodies and frequencies.

    "trying to suggest using slower or faster tempos than your usual"

    I will try and you're right that it does change things. I still haven't done 3/4 though I have done a bit of 6/8. But 4/4 is simple for me and offers so many possibilities.

    I hope that explanation helps...

  13. Evisma
    Evisma on Wed 13th May 2015 - 5 years ago

    Was not done with my first comment when video ads locked everything up and I had to send it early, or lose it. I apologize for the double comment. My blinking curser is gone! Writing this, there is no blinking vertical line showing me where I am in the text. oh, well.

    7:00-7:24 has some beautiful moments of squawkiness and attitude-ness. AHHH! I have no spell-check either! Your low end has broke my fucking computer!!! Please send your rowing butler with a replacement.

    Here comes my negative comment.

    7:48 drums don't seem to fit. I mean they fit, bit seem too happy and carefree. That changes at 8:24. New hi-hat that really changes the room feel.

    9:24 distortion brings whores of a different color. That's the expression, right? I like the inserted attitude it brings.

    You end by revisiting the beginning. If you had made some heavy stuff after the intro, like what's before the outro, you would have a palindrome track here! Though you really don't "repeat" things.

    Your nice track has been thoroughly dug by the Evanator, bro.

    As for "holding on to nothing", there seems to be a whole lot of waveform that disagrees.

    Delicate beauty is not meant to be whored around. I don't go for the chick who shows me her tits, I go for the one in the corner, by herself, reading a book on tantric sex and has a pocket full of alligator clips, and she knows exactly how to place them.

    Hope all is well with you. I'll send a link and let you download from my account at Samplephonics. My password for there is not used anywhere else so all is good. There is also a Leeds Organ there that is just too big for me to take. (if I had a nickel for every time I've said that). It's in three parts and probably sounds amazing, but that's something for an external hard-drive.

    Take care, and I hope you can pick up a bow soon and feel a little better about your purchase. I'm sure you'll be rockin that shit pretty soon! I'll be uploading something this week, maybe, and you just might like it, though I'm having trouble working in the six-string. It may stay minimal. It has a great name though.

    Peace, Piece, Peas, Goose!

    Evan

    StaticNomad
    Reply by StaticNomad

    9,000 additional greetings as I return for more reply-based joy.

    "I apologize for the double comment"

    Shame on you. It's so painful to have to read your drivel.

    Rowing butler has been dispatched with a replacement computer, unfortunately it's a ZX Spectrum with 1MB of memory. That's all I could find lying around my Nomad lair. It can't play back audio any faster than 2BPM so you'll have to work exclusively at that tempo from now on.

    7:48 is where I take the drums into ride cymbal swinging jazz. Pretty much the only example of double drums in the track. Are they too happy and carefree? Maybe but I wanted to shift the mood a bit before descending back into the straighter groove 80 BPM fat beat hat stuff. I don't strictly need that section and it could probably be removed without anyone missing it. Maybe I'll keep it. I like to think the psychedelic female vocal synth keeps stuff still mysterious and slightly dark rather than too happy.

    "whores of a different color"

    is an interesting phrase. I like that distorted section a lot. Gotta go badass a bit. I simply took pretty much the same bass parts from 9:00-9:24 and added plugin distortion. No need for an extra guitar part. Distorted bass g functioning just like a guitar, plus fat bass synths underneath.

    I do a lot of track bookending, which isn't quite the same as a palindromic track. You won't be surprised to hear I'm a big fan of palindromes, which is why I have to eventually title a track Rotavator. Needs to evoke the mood of chopping shit up in an agricultural way.

    The proper palindromic track would need to be just the same thing from the mid point to the end but in reverse. Damn, that would be hard to plan out. And making half the track digitally reversed would probably sound pretty shit.

    You may have heard that there are even a handful of odd people way too into palindromes who really have written palindromic novels. I've read some excerpts and they're absolute crap. I can remember that one starts "Revolting Isla..." and then (somewhat predictably) ends "Al, sign it, lover!" Yes, you can still have punctuation if you're doing a palindromic novel.

    " you really don't "repeat" things"

    Oh I certainly do but I always present sections in new ways, partly because I can usually find a cool, slightly different way to do any section. Lead bass g section from 0:28 returns later but with new drums and synth bass underneath. Great to hear it return.

    I must say that I'd rather see tits than alligator clips but each to their own.

    I don't know what a Leed Organ is but I'm sure I can cram it in.

    "Peace, Piece, Peas, Goose!"

    I still can't work out what goose is doing at the end of that. Too clever/dumb for me.

    Bye bye you have been bid.

  14. Evisma
    Evisma on Wed 13th May 2015 - 5 years ago

    Greetings, cellovater.

    Odd I can comment on this track, seeing as how I'm negative 8,968 years old, but I had a desktop computer and headphones in utero so we're good. My internet connection has always been a bit shaky. Fucking AT&T.

    Man, I do like the bass guitars. You seem to be using less high-end string rattle than I do.

    Something is going on in the background that I REALLY like around 0:30 and on. Atmospheric swells that almost sound like reverse cymbal that has been slowed and softened. I dig that a lot.

    Around 2:30 is some of the best bass playing I've heard you do,... in my opinion. Your kind of guitar line but on the bass.

    I'm really liking this track. I like to hear how others handle metric shit-tons of bass guitar.

    4:12, all these elements are great together, then the shuffling snare. Lovely.

    4:48 bass synth is killer. Croaky, and what god's voice would sound like, since he smokes a carton a day.

    6:12 change is subtle but very nice. Guitar line with the delayed 'ascending' notes is just the right fit, and paints the picture of the boggy swamps of heaven.

    6:36. Consider my fancy to be tickled! That revers stuff in there is small yet tastfuly effective. Smeared a huge grin on my face.

    StaticNomad
    Reply by StaticNomad

    21st century greetings, O anciently* immature one.

    I think you're able to comment on this because you somehow have internet capability in your primitive era that can communicate many thousands of years ahead. I added your name to the track description as I know you Oogle it daily and would eventually be led to this, what we in modern times call a "nice track bro". My crafty plan worked and your primitive version of Google led you right here.

    Since about 1951, the human race has had something called "the bass guitar" and I thought you might enjoy its sound as there is quite a bit on display here. It's a bit like "the guitar" but bassier. Much better than the coconut shell banging and animal gut twanging you're doing. If you ever make it to 1951, you should give one a go.

    "less high-end string rattle"

    Oh no - I struggle hugely with my bass sound and get shitloads of fretbuzz, distorted notes and so on. Carefulish playing and more careful editing produces a better final result.

    Your atmospheric swell thing is one of just two pad sounds used in this. Would have used more but kind of ran out of computer processor power so couldn't comfortably add more active synthstruments. The track is actually minimal on synths.

    2:24 is a cool little layered bass breakout, still with pads in background.

    "I like to hear how others handle metric shit-tons of bass guitar."

    How do they? Perhaps some feel it creates a sense of a whole lot of nothing happening. I don't know.

    3:48 funky programmed wah VST guitar I thought you might like. Not my fave part but decent.

    4:12 synth choir is better. Enya should really contribute some vocals to this. Believe it or not but I'm a big fan of hers.

    4:48 killer bass synth is new sound here. I heard God smoked 2 cartons a day but maybe he/she has cut down.

    6:12 is a multi-chord guit rise. I have been concerned by you pointing out my frequent rising riff thing (must descend!) but it seems to work here. I wanted a key change there. Not quite though that comes later (7:36).

    I wondered if you might notice 6:36 reverse. Not necessary but cool. And cool beats necessary every time.

    Grin smearing and fancy tickling are fave hobbies of mine.

    "the boggy swamps of heaven"

    I was pretty sure it doesn't have any - all clean surfaces and verdant greenery and so on. But maybe you have visited and know better.

    More nice words bro in my next reply...

    * I just made that word up

  15. DijamMusic
    DijamMusic on Wed 13th May 2015 - 5 years ago

    Yet again, another grate track.
    Man you are way above almost reaching heaven with your music.
    Great job well done

    Thanks

    Jamid

    StaticNomad
    Reply by StaticNomad

    Thanks.

    I understand that a lot of people will disagree and find this too long and boring. Maybe it is. Or maybe there's good stuff that lasts quite a long time, meaning that you can enjoy it for over ten minutes. I really could have put quite a bit more in but I'm glad I didn't.

    "you are way above almost reaching heaven with your music"

    That's quite a compliment and kind of what I'm trying to do. I don't believe in actual heaven but I often try to make the sounds seem to rise up and take the listener beyond this planet. So, a bit like what you're describing.

  16. promenade2239
    promenade2239 on Tue 12th May 2015 - 5 years ago

    hi. so just sitting this early afternoon and listening to your new track I realized that this is very much a kind of 'levitating' while 'holding on to nothing' smoky music. For example from 5:50 I can hear a guitar solo starting in a lower range and it really seems to gradually progress till 6:48 at first (but it doesn't really evolve too much). It sounds still like a teaser a bit. I mean... guitars are great as always! but there's too much of drum sequencing for my taste and way too much of 'echoing' of your guitars by other instruments. Still it's very skillfully made and very impressive but why do not create something which would be much simple than that sometime?
    I say that because there are many places on this composition (and probably on many others compositions from you) where nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove). That way you can easily continue and transform this one into a 30 min song I guess.
    Ok, there are very interesting guitar riffs but it's only a little part of this composition. If you will ever try to place them in a totally different context (without all synth 'echoing') you could have much shorter but very powerful tracks eventually, who knows. I say that because after listening to your productions over a longer period of time I can't see many very significant improvements (maybe you can point them?). It's more like you are 'already there' with very specific sound and type of music prefference.

    Anyway this title sounds to me bit like a big ego thing, something similar to your '3000 miles of funk' if I remember correctly.

    Great music as always!

    StaticNomad
    Reply by StaticNomad

    Hi.

    I found your review quite negative and depressing, perhaps even insulting, but it's given me some things to think hard about.

    "why do not create something which would be much simple than that sometime?"

    I think that is your main point and your main problem with my music. I actually try to make my tracks shorter. I have split a lot of tracks that were between 11 and 19 mins in two in the last year. You want me to make shorter, simpler music. I find that boring and it doesn't give me time to do the exploring that I like and need to do. How long do you want it to be? 5 minutes? 3 minutes with a verse-chorus-verse structure and middle 8?

    "nothing is really happening other than just that 'holding on to nothing'"

    There's so much happening in my tracks all the time. You also perhaps have a lot of 'nothing really happening' in your tracks.

    "too much of drum sequencing for my taste"

    What does that mean? Too many drum fills? Too many drum sounds? I have no idea. My tracks almost all contain lots of drum sequencing so I have no idea what is wrong with the drums here. I like them.

    "I can't see many very significant improvements (maybe you can point them?)."

    You want me to go through and explain all my improvements in my tracks? Or just this one? That would take a long time and be boring. If you don't think I make improvements, why would me trying to explain them to you make you feel any different? Every track I do contains new sounds, structures, melodies. They're new to me so if they're not new to other people, I don't know what to say.

    You know that I try very hard to explain what I do in my track replies but I'm not going to go through and point out every thing I think is interesting to someone who thinks there's a lot of nothing going on.

    You seem to mostly make one genre of music (jazz fusion) and I don't really make music in that genre so there's no reason for you to like any of my music.

    "this title sounds to me bit like a big ego thing"

    I can't tell if that is supposed to be an insult but it looks like one. If so, you're wrong as both 9,000 Years Too Young and 3,000 Miles Of Funk are other people's phrases that I discovered and liked and thought would suit my music (they're only titles - I have to have a title). They do have some meaning (especially the second one) but I can't be bothered to explain them.

    "Great music as always!"

    That is a strange way to end your review after mostly complaining so you have confused me there. I don't mind if people don't like my music as it's unusual, uncommercial and maybe just too long ansd complex for most people. I understand that. I'm not trying to be popular, just trying to get better at the kind of sounds I like. I work alone so it's lonely and hard to improve and understand what it is that I do.

    Your words gave me some things to think about and I do try hard to improve. I'm sorry if it's not good enough - I will try harder.

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