Tags : | Heavy Metal | 9.94 MB

Description : One of my greatest heavy tracks. What I find unusual is the amount of melodic and deep ambient guitar that sits on top of low, distorted riffs and fat, heavy drums. Very little synth work here apart from the sub bass, which plays almost throughout. Bass guitar in two sections and a couple of slide resonator guitar solos. Drums are a few programmed metal/rock kits, no drum loops. What I still have trouble believing and understanding is that all of the many vocal sounds in this are actually timestretched guitar parts (8x or 800% slower). I don't know why the timestretching adds such a clear vocal component to the sound. Gets darker and more intense in the middle (and towards the end) but this is otherwise quite melodic - perhaps in a way that might put off some metallers. Shitloads of guitar playing, some fairly badass, and lots of heavy, crashing drums so press play if you want to rock hard but also in a deep ambient, psychedelic way. Interesting thoughts and reflections are, as always, greatly appreciated. Detailed comments preferred...

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  1. ronabo
    ronabo on Tue 26th Apr 2016 - 8 years ago

    This is great work Static.... Hats off to you.


    Reply by StaticNomad

    Thanks very much but it's not entirely hats off.

    In your picture, your hat is still on so you should have the picture taken again with your hat off. Or use Photoshop to edit it out...

  2. mrwolf14
    mrwolf14 on Fri 4th Mar 2016 - 8 years ago

    Hi MrNomad,
    Good title for this track... I had to look in the dictionary for this word: thanks, now I know one english word more :-)

    You had me after the first seconds: a firm riff, little hendrix influence, solid rhythm. you can't go wrong from here.

    The we have a perfectly fitting "guitar signal interruption" (may I say a chasm?) @ 1:38
    Followed by a Good slide guitar solo.
    At 3:00 the song gets quieter and we have your "characteristic" chrosued-heavy-effected-bass-like sound.
    Interesting... nothing new from you, but interesting.

    break at ~3:45 ... haunting distant guitars, good idea.

    and from here we go into a "mildly-wild" guitar solo (with some notes borrowed from an eastern scale?)
    @5:00 almost a reprise of the original riff...
    The break with a "complete stop" gives the listener time to breath ... but not to much because we immediately get another "wild guitar part" ... again with the distant guitar sounds.
    ~7:05 ... double tempo (pat.pending - S.N. Inc.)
    ...slow down and prepare for the ending...bye!

    I enjoyed the song.
    Ciao, Domenico

    Reply by StaticNomad

    Sorry for the slow reply.

    Always happy to teach people new English words. Even when I don't intend to.

    "You had me after the first seconds"

    Same here - I love listening to that very direct start and simple killer riff. The sparse, swung drum groove really helps bring the riff out.

    ""guitar signal interruption" (may I say a chasm?) @ 1:38"

    Yes, a nice little pause. A double extension of the same thing from around 0:32. I love it.

    "a Good slide guitar solo"

    One of my best ever. Very melodic. At 1:48 there's another.

    2:52 the track drops back down and there is some nice chillout bass g.

    "nothing new from you, but interesting."

    Lots of new stuff in this track, especially the unusual combination of a lead undistorted guitar part over a low, heavy riff. I also do that at 7:35.

    All the timestretched guitar parts are a new technique I really enjoy. Some sound so much like vocals. 3:46 sounds just like a woman.

    ""mildly-wild" guitar solo (with some notes borrowed from an eastern scale?"

    Yes, some is a crossover between dark and Eastern scales. But I only know two scales (major and minor) so I can't really tell you about them.

    "@5:00 almost a reprise of the original riff"

    Not really. That's where a distorted bass g part arrives on top of the sub bass (which is too loud throughout the track).

    ""complete stop" gives the listener time to breath"

    Yes, it's supposed to be a dramatic shock. Then some haunting guitar voices and then I'm back with a new heavy riff.

    "~7:05 ... double tempo"

    Not exactly but I know what you mean. It's just a drummer's technique for making things more intense and busy.

    "slow down and prepare for the ending"

    I love the last minute and it really feels like a warm, beautiful conclusion to an epic journey. The timestretched guitar voices are really beautiful as things are slowing down.

    Thanks again for the detail, even if you didn't like this one as much as I do.

  3. ValveDriver
    ValveDriver on Fri 22nd Jan 2016 - 8 years ago

    Hey brother. I listened to this one a while back, but didn't the chance to get back to it. I tried listening again, but my damn phone isn't letting me play any tracks. So, I'll be giving it another shot in the morning, then I can leave a proper comment. I didn't want you to think I've forgotten to show the love!

    Reply by StaticNomad

    Yo, SloeBro.

    I wondered if you had perhaps killed yourself again and were busy regenerating in a test tube or in darkness and copious quantities of shit (like a mushroom).

    You can show the love by letting me know if the sub bass is too loud in this nice track bro. I'm concerned about it on this one and two others (Roar Stone and Zero Hours) as I got some nice new Sony headphones for Xmas and the sub really does seem too loud in those three when listening through the new cans.

    No bass problems with any other tracks - it's just in those three, which all use the same synth bass patch.

    I hope there's enough badassery in this one for you. I haven't played any rocking guitar for ages - at least a month or two. I'm missing it but need to come up with some decent riffage otherwise there's no point.

    Later, regenerator...

  4. Neomorpheus
    Neomorpheus on Sun 3rd Jan 2016 - 8 years ago

    Hey Mr. Static !
    Man this track immediately shot straight to #1 on my Looperman Billboard 100. Far and away my favorite of yours to date. As much as it is undeniably StaticNomad there's quite a bit of uncommon things in here as your tracks go. I like how you just dove right in with the heavy distorted groove but I was totally taken by surprise with that ensuing riff. The sound reminds me of Steelpans or Jamaican steel drums. Awesome !!!! I absolutely love it man. Its such a contrast but that's what makes it cool. Where do you come up with this stuff?

    Oh man that is a sweet and oh so tasteful lead with the resonator slide. Besides delay and reverb what other effect if any are you using there? Nice tempo changeup there at 2:11 with a more intense lead and then a nice chord drop before reverting back on the tempo. Some low register stuff becomes apparent around 2:53 as the bass line gets a dominant role. This is a really cool section where you run with the bass a few bars with the background swells and heavy toms. Then its onto the Psychedelic mid section. Lots of crazy buildup of tension and BAM! We drop off into the Abyss of Bass and some way "Groovy" spacial ambience. Am I hearing reverses in there? I cant believe Evan didn't rag on you about that! But it is cool and fitting. The last section takes us back into the main groove with some nice outro leadage on a more mellow side, leading up to that nice smooth and melodic fade of an ending.

    Great stuff here bro, truly one of your best.
    I too though question the title. I always question titles by the way. I'm guessing it's meaning has to do with the Deepness or Heavy nature of this beast. To which I would then say its appro-po.

    Take care my friend, and Thanks for opportunity to sample this gem.

    Reply by StaticNomad

    Word up, NeoChasmicBro

    A longish and good review from you - the kind I like and prefer.

    I've got somewhat used to this track's title (gotta have one) after not liking it much. If you have any better suggestions let me know and I may well choose a more suitable one. The Evanator had a go but none of his offerings quite fit.

    "there's quite a bit of uncommon things in here as your tracks go."

    If/when I stop adding those surprises, I suspect I'll be making music that's boring to me and no interesting progression or evolution.

    Yeah, straight in with the low end riffage, then the lead melodic is a nice surprise. When I tried that 'clean over heavy' idea out and it seemed to fit, I knew I could be onto something special. A fun contrast and I'm glad you pointed out the Jamaican steel drums thing as I get what you mean but hadn't thought of it in those terms. Yes, quite a metallic chimey tone to that guitar part that I wasn't initially happy with but various EQing got it to its current state. Total fluke that it sounds like that - I was just going for a decent, clean, far out (ie plus delay) sound.

    Yeah, a good resonator sound here. Mine is not a good quality guitar (those seem to be a lot more expensive) so I always have to add effects and do some processing in the computer. It's just some added delay and reverb here, maybe some EQ, so very standard stuff. A fair bit of poorer quality resonator sounds in my tracks but sometimes I have to keep those parts because the playing's good.

    "low register stuff becomes apparent around 2:53"

    Yes - first bit of bass guitar in this. Some quite tasteful grooving.

    "Am I hearing reverses in there?"

    No reverses in the track. Everything that sounds like that is timestretched guitar parts, of which there are shitloads scattered all over the place. Some sound a lot like voices.

    "truly one of your best"

    Thanks but it'll be much better when I go back and fix the far too loud and oppressive sub bass. I got some better headphones for Christmas and now I can hear that the sub is way too loud in this (and a few other tracks). I did not enjoy listening back to this version when writing this and checking what you had written with your time references. Just because of the oppressive bass.

    You'll probably also enjoy the hard rocking track this one came from. Not as good but there's still some cool stuff, including some timestretched guitar parts. And the sub is also way too heavy! Don't know why no one has pointed that out. Maybe my headphones are too bassy.

    Roar Stone


    Finally, I did reply to you on that forum post about you doing album artwork, basically saying 'yes'. Been working remixing and remastering loads of album tracks since then, freshly inspired by your offer.

    Take care...

  5. MkAli
    MkAli on Sat 26th Dec 2015 - 8 years ago

    the beat got my 2 year nephew stunting

    Reply by StaticNomad


    I don't know what 'stunting' is but I hope it's something good.

    Probably something like jumping around, I'd guess.

    I hope it's nothing like stunted growth.

    Get the little man to do a decent review and I'll forgive any spelling errors...

  6. Planetjazzbass
    Planetjazzbass on Thu 17th Dec 2015 - 8 years ago

    Hey man I'm liking this, that little melodic riff takes the whole production in a very cool direction indeed, a lot of heavy metal can get compartmentalised by it's own metalness sometimes(if that makes sense) not this though you have an excellent live jam continuity happening great fluidity..sort of Greatfull Deadish in so many ways (which is a big thumbs up) an excellent track!....I'm going to shift gears here and talk about the production side of things for a minute, you've obviously got a very creative head on your shoulders and your projects are orchestrated with many elements, I can hear something that I've grappled with since I started recording and still suffer from, it plagues us all...muddiness in the mix, however I finally started doing something last week that I've known for quite awhile (with a little help from buying some new drum software I might add) and it works, processing every drum element on a separate track, the trouble with having all the drums on one track is when you engage reverb or compression or anything for that matter it effects the whole kit without discrimination which isn't desirable and starts compacting a project from step one..it's amazing when the drums are opened up how this effects the whole composition for example a dry compressed kick sounds great with a reverb snare(I know, teaching grandma to suck eggs)....Just a tangential though as listening to this track I get that Spector wall of sound, there's so much good playing going on here it's pretty amazing, excellent work and a huge thumbs up!

    Reply by StaticNomad

    Sorry for the slow reply, Mr PJB.

    A real surprise to see you listening and even commenting. But a good and potentially very useful comment. Potentially cos you may be able to give me some further good advice.

    Yes, the little melodic riff that arrives after the initial low end riffage sets this apart, I feel, from a lot of metal. I'm no proper metaller though I of course do listen to various heavy stuff. But my focus is always on melody and groove rather than brutality and I can't really further a heavy track if I don't have some strong melodic and grooving elements. Without them, it just seems like a load of heavy riffage for the sake of it.

    I've never hear anything by The Grateful Dead that I liked though I've never really tried that hard. Guess there must be something I'd like if you think I'm inadvertently channelling them here.

    "muddiness in the mix"

    pisses me off probably more than anything about my music. I'm continually confused as to whether I am actually a pretty good producer and mixer or if I'm just not good enough and not doing the sounds and arrangement justice by having some things buried and the mix not being powerful and clear enough. I've definitely improved a lot in the last few years.

    I'd love to try out your drum mixing/processing suggestion but I can't say I totally understand it, which is why I'd love a further bit of clarification. I use Toontrack's Superior Drummer and multiple kits in a track, some of which often play simultaneously. I've still never done a track with only one kit!

    I do have some drum processing technical limitations and don't seem able to output all the separate Superior drum mixer channels in Cubase though I'm sure some people do it in their DAWs. So, I can't even automate each kit part's volume level or panning. However, that does mean that I do a lot of careful velocity trimming of lots of hits, which can have the same effect as reducing/boosting their volume (plus a change in timbre, of course).

    I think what you're saying is that I could do better if I applied reverb to, say, only a snare and left the rest of the kit dry.

    Perhaps the muddiness in the mix here is caused by the heavy synth sub bass. Maybe that's more the culprit than the drums.

    Perhaps you could start a forum topic on your drum processing point and I'd comment there, as might someone like Mahloo.

    "there's so much good playing going on here it's pretty amazing"

    Thanks very much for that as it does mean something, especially coming from you.

    Thanks for the extended review!

  7. BradoSanz
    BradoSanz on Tue 15th Dec 2015 - 8 years ago

    Guitar-stretched greetings, my dearest Nomad.

    That intro actually brought Van Halen to mind haha. Beautiful, strong and thick intro.

    The guitar that comes in at the next segment really opens up the space of the track, sits nicely in the middle, pushes away everything else and draws all attention to it, like a diva in Los Angeles.

    Sick little riffs you got going on with that lead, that reverb/delay you have applied to it is gorgeous, really adds that spark to the track as a whole. No complaints at all.

    That guitar work that starts at 2:31 is sweet, subtle and addicting to my ears. Everything sounds so wide! And I think I can hear some stretched guitar here too?

    That resting sound at the next segment is absolutely ace!! Perfect balance of drums, guitar and bass. You're too good at this! You SERIOUSLY need to make an album of your stuff. It's that good haha.

    More slowed-down guitar that always makes my ears perk up. I love how it sounds slowed-down. Has this eerie, captivating, melancholic tone that overarches the rest of the high-energy track.

    The solo at 4:18 is again, subtle, sweet, blends beautifully into the background but still maintains attention. You're pulling some sick plays on this one haha. You sound like you're having too much fun on this one haha.

    That chord change at 5:00 is gorgeous and in good taste. It meshes so epic-ly with that guitar solo. The bass is big, airy and juicy. I love this!

    The almost-dead silence at 5:42 is SO AWESOME. It draws all the attention to the stretched guitars. This is by far my favorite part of the entire song just because it's so different.

    Then the next segment fires back in, lacking that solid bass that one does not notice is there until they hear the track without it. Beautiful mixing. Lots of energy, too beautiful for my ears haha. This is one of your best works in my opinion. That timestretching takes the track to a whole new level, in my humble opinion.

    Drum pattern change breathes new life into the song and gives a sense of ending. More grungy, powerhouse goodness and a gentle solo overlaying it all.

    It returns to a steady beat with more timestretched guitar and then it closes down slowly, being consumed by the time-stretched guitars. AWESOME. NUFF SAID.


    Reply by StaticNomad

    Stretchy word ups, yo, equally dearest Bradobro.

    You seem to have put a short, standard Looperman comment such as "Nice track bro" through that timestretch software to produce a detailed, lengthy review. You'd think you'd just get "Niiiiiiiiiiiiiiiiice trrrrrrrrrrrrrrrrrrrrrrrack brooooooooooooooooooo" but the settings can be tweaked to make oh so much more.

    I've never really heard anything I liked by Van Halen (Jump is decent) but I know EVH is a greatguitarist. Fun, fat intro here. Maybe I'll eventually find a VH track a little like it.

    When I came up with the rather nice chords of the clean lead at 0:22, I knew I had something special. Big chill over big balls, so to speak.

    "like a diva in Los Angeles"

    is a fun analogy.

    2:31 is me trying to play fast and up the badassery. Was meant to be longer but I'm trying to cram less in tracks these days so just made it brief.

    2:32 very brief stretchy g fill and then 2:42 angelic stretchy voices.

    "resting sound at the next segment"

    Yes, I like the chilling, laidback drum comedown there (2:52) and that contains one of only two bass g sections.

    3:13 new stretchy g that's very vocal at times especially breathy female vocal oddness at 3:35. Check 3:38 for the high "woo woo" notes.

    I was trying for the badass guitar at 4:18 to be more upfront but I've somehow got the sound wrong. Cool playing but sound is not right.

    "chord change at 5:00"

    Not sure there is one but I do add some distorted bass g riffage to thicken shit up even more (on top of the synth sub bass).

    "almost-dead silence at 5:42"

    is pretty damn tight and hopefully a fun surprise. I needed to make some sort of transition and that turned out to be dramatic. Then more ambient chill female stretchy g vocals and we're back to another big riff, even if the transition to it isn't good enough. Yes, a very different chill section.

    " lacking that solid bass that one does not notice"

    Good point - that's pretty much the only time time the sub bass ain't playing.

    "a gentle solo overlaying it all"

    Lead at 7:35 is a return of the idea of chill guitar over badass riffage.

    "being consumed by the time-stretched guitars"

    is a good way to put it.

    I agree that the stretchy guits do take it to some other, unusual level.

    Wish I could make a track like this every day but I can't.

    Am working on a few right now (including a chillfunk remix of this very track) but they're all currently no good. I have a lot of musical limitations.

    Thanks for your kind and interesting words and yes, I must release some albums. One would be a start.

    You should starting stretching guitar parts as well as your vocals for mega ambient sounds. It'll work, trust me...

  8. crucethus
    crucethus on Sat 12th Dec 2015 - 8 years ago

    Nice Intro. Reminded me of In living colour for some reason. lovely string bends. 1:15 nice bring it back in. cool reverse sounds ( I am assuming these are the stretched sounds). Hard snares bring us to 2:55 and a cool bassline with some jangles. 3:19 has some time stretching creeping in to the song. Starting to get lost in the song mentally. Then 5:44 is a breakdown like I have never heard from you before. Hauntingly Ambient with those stretches. I almost wish it went on a few measures more before you gave us that hard guitar. It's like you took the Turkey out of the oven, and it's perfectly done and golden brown and were all admiring it, and then you go and fist it while cursing out grandma at what a lousy bridge player she is. Just a bit shocking for a moment. Ending was just right. I liked it. Overall I like the experimentation you are doing with time stretching.
    U get 4 Shitting birds 3 french Le Pens 2 turtlenecks and a part of a pear I ate in a tree. or you can have 5 golden shower cock rings....completely your choice this X-mas.
    I will now slip back into my slowly devolving insanity and bid you a good day.
    cruinstitutionalised for your own good!

    Reply by StaticNomad

    SN to tha mothafuckin' Cru G, yo.

    You seem not to have liked this one quite as much as my last rocking track, Roar Stone. This was made out of leftover parts from it and is in (mostly?) the same key and same tempo. I think it's a much stronger and deeper track.

    I really like the very first cymbal crash of the intro, no messing about there. I thought the string bends were somewhat subtle but you never know quite what will appeal to people (or annoy them).

    My Living Colour connection is seeing some of them under a different name in a New Orleans club in 2013. I spent quite a while chatting to the girlfriend/partner of bass player Doug Wimbish, whose setup consisted of at least about 20 separate floor pedals!

    "1:15 nice bring it back in"

    Yes, nice emphatic stop and I'm really happy with the flow of the first few mins. It's all kind of the same idea - I just keep varying the drums and bringing in new guitar parts (eg slide) and stuff.

    "cool reverse sounds"

    Yeah, they really do have that feel but there's no reversing - just the extreme timestretching, with, at times, its rather interesting vowelly character.

    "2:55 and a cool bassline with some jangles"

    Not sure what the jangles are. Maybe from guitar? That's the first of only two appearances of bass g in this.

    "3:19 has some time stretching creeping in to the song"

    There are bits carefully scattered all over the place. Very female vocally around the 4 min transition section leading to the outright badassery that takes over at 4:18.

    5:44 breakdown is hauntingly ambient and more like chillout dance music than metal. I totally agree that the transition back to the hard rocking guitar is not as smooth as it could/should be. That ambient breakdown only exists as a way to break up the hard rocking sections though I don't know if it has anything to do with fisting a turkey. But I appreciate your creative image. Those "vocals" in the ambient breakdown also return later atop the hard rocking guitar. Nice to also hear them in a chillout context.

    "Ending was just right"

    Yes, lady voices meandering away right at the end. That's a stretched slide note getting a bit discordant through its chromatic movement.

    I have deep funk/ambient sections of this track that I left out and am working on as a separate remix track though it's not going very well.

    Thanks for my shitting birds, Front Nationale leaders, warm clothing and half eaten fruit. I'll take them all but don't need the cock rings so you can wear all of them at the same time as you carve up the Xmas turkey, otherwise naked.

    I haven't got you a present this year so will instead wish you and your Lady Cru extreme happiness and eternal health. Here's hoping they let you out of your CruInstitution at least for Xmas dinner with the wife...

  9. Emolyte
    Emolyte on Thu 10th Dec 2015 - 8 years ago

    I do very much enjoy this one. I dont hear this kind of heavy metal much anymore. Transitions are great and increase greatly throughout the song leading into many dark tones that blend together perfectly.

    Reply by StaticNomad

    Good to hear you liked it.

    "I dont hear this kind of heavy metal much anymore."

    I don't really know what sort of metal this is. That's why I'm interested to hear from people as to who or what it sounds like.

    I'd like to listen to more metal like it. There's a big focus on things being beautiful and grooving rather than just being brutal and loud. So, it's unlike a lot of metal in that respect.

    "many dark tones that blend together perfectly"

    Yes - my attempt to create dark beauty that's hopefully never too brutal or unpleasant to listen to.

    I like to think that some people who don't listen to metal might like at least some sections of this. But I could be wrong about that.


  10. clindsay
    clindsay on Tue 8th Dec 2015 - 8 years ago

    Like this - great intro pulls you right in - contretemps of the I think, slide works at about :25.

    Great Drums at about 2:32. Always hear Ry in your stuff - Not sure this is heavy metal in my understanding - wait at 3:40 it gets a bit metally then goes to rockish guitar work with GREAT LICKS at 4:50. Great guitar work.

    Back to metal at 6:20. Definitely badass guitar work. The vocal simulation works to the point that you could build a track off of it. Good use of pads as well.

    Brilliant bits throughout.


    Reply by StaticNomad


    In the last few months, I've been doing very short intros and sometimes no intro at all. This one is straight to the point and thus we're rocking within one second.

    I tend not to do long intros. Probably cos I do such long tracks. So much to get to that I like to get to something cool and groovy fairly quickly.

    "contretemps of the I think, slide works at about :25."

    That's a very hard sentence to understand. There's no slide guitar at that point so you must mean the movement of the heavy guitar as it descends into the kick drum thump. Lots of kick drum thumping in this track.

    2:32 I turn up the EQ on the drums to bring them out a bit as I was trying to launch into another exciting section.

    " Not sure this is heavy metal in my understanding"

    I totally agree and I always look to make something that is a crossover of at least a few genres. Perhaps if you remove all the undistored guitar parts, it would be metal. But I've sat the very melodic ones on top of the heavy ones, which is less common in metal.

    3:40 lots of strange female vocal parts there, which is all timestretched slide guitar parts.

    "GREAT LICKS at 4:50"

    Thanks. A bit of dark lead widdling there and I do like that held note at 4:50.

    "Back to metal at 6:20."

    Yes, a bit of vocal chillout before then (5:50) but metal always had to come back, with me trying to save some badass drum energy for the end sections.

    "The vocal simulation works to the point that you could build a track off of it"

    That's kind of what I've tried to do here as there are so many of those parts scattered about.

    There are almost no pads in this and I think you'd have a hard time spotting them (3:03 and 8:18) so I'm pretty sure that anything you heard as a pad was actually a timestretched guitar part.

    Thanks for the thoughts and I'm glad you found some brilliance. I always try to stick it in but I'm not always successful.

    Take care.

  11. Evisma
    Evisma on Tue 8th Dec 2015 - 8 years ago

    Greetings, O Deep one. Your chasm may be deep and impressive, but like all others, it's littered with pennies, gum wrappers and a few shoes at the bottom. And one old tire. Always and old tire at the bottom of a chasm. Mandatory.


    Intro is muffled chunkiness, followed by a lead that reminds me of Tom Petty's guitarist. Airy "Don't Come Round Here No More" sitar intro kinda feel. Nice tones.

    0:55 very lyrical phrasing feel to the lead, like a vocalist's inflections, though I know it's not the vocal part you speak of in your description.

    2:53 Another part from you that makes me think of a beach at sunset. Your music has given me that visual before.

    The 4:00 area is different for you. Sounds polished and rather professional. Nice.

    The following lead onslaught is a fine show of badassery.

    Thick and deep guitar tone in the last movement. Leading to an outro lead that makes me think of slowly swirling blue and white smoke.

    This one is down with the thickness. Melodic, and more upbeat than I expected.

    Name is not befitting.

    My suggestions:
    Moonbeam Tonnage
    Submissive Denominator
    Piss On You -a love song
    Monkey-Curse Lifted
    (and my favorite)
    God On God Pornography

    The last one is a gem I've been waiting to break out. "Mean Motor Scooter" is a contender, as well.

    I hope all is well with you. I should have Hypnoculars done before December ends. I've got a lap-steel intro, an "A" part and a "B" part. I'm repeating the "A" part with a new lead and extras, repeating only half of "B", but then I've got a whole later chunk to write. We'll see. It's at 4:20 at the moment.

    Take care.

    Evan, robs the grave to snow the cradle, then burns the evidence down.

    Reply by StaticNomad

    Chasmic Nomad word ups, yo.

    My vast chasm contains no pennies, gum wrappers or shoes but it does have one tyre, which I use as a toilet. The main detritus is trimmings of timestretched guitar parts, left over from making this epic track bro. Some are miles long. There are also some Nomad beard shavings scattered about.

    Lead doesn't make me think of sitar though it's quite "chimey". I did check out the Petty song. Won't Back Down is still my favourite.

    First few mins are my fave section in this, mostly cos of the lead chillout guitar (whose timestretched parts are scattered throughout). The chunky rhythm one is also great and does a lot and is sometimes pushed forward as the lead part.

    0:55 lead is just some nice, expressive slide playing. Don't think I bothered trying to timestretch that part but did so with a few other bits of slide playing.

    2:53 yes like a beach at sunset. My music's all about wide open spaces and far out imaginings. Places I'll never go (eg deep space, Heaven etc) but try to capture in sound.

    2:53 is also first of two bass g sections.

    Second is the heavy, distorted bass arriving at 5:00 to thicken shit up even more. Makes a big difference and sits on top of the sub bass.

    I assume you don't think everywhere apart from "the 4:00 area" is unpolished and unprofessional. Lots of female vocal guitar sounds there.

    6:47 has a vocal tune I can sing along to. No idea how timestretching creates such clear vowel sounds.

    4:18 badassery was some dark, joyous fun to make. Came up with that section before the first few mins.

    "an outro lead that makes me think of slowly swirling blue and white smoke"

    I'm guessing that starts at 7:35.

    Down With The Thickness could be a cool title. Not keen on your others (for this track) but I'm damn hard to please. You're better at coming up with title phrases when not asked ie just in your general words. Thanks for having a go.

    I like the idea of gods getting it on. Poseidon beating off Jesus as Shiva observes with glee. I'd watch that.

    This Mean Motor Scooter was a definite contender for this but it lacks the beauty, which is the standout element here for me. More so than the badassery.

    Maybe Hypnoculars will be my Xmas present. If so, make sure to gift wrap it for me.

    Nomad, pissing all over The Evanator's black kettle.

  12. toastedavalanche
    toastedavalanche on Tue 8th Dec 2015 - 8 years ago

    I love time-stretching guitars. It creates a haunting "shimmer" that can really make a track come alive. I love the opening melodies and the feeling of sheer joy you seem to feel when just rocking out. The psychedelic doom fusion works surprisingly well and keeps the track feeling fresh. It's gonna take afew listens to capture everything that's going on here. So I shall have to favorite it and keep coming back!


    Reply by StaticNomad


    Have you got any tracks with extremely stretched guitars in them that I could hear?

    You're right about the timestretch shimmer effect. It's amazing.

    It seems to work particularly well with slide guitar parts. Something to do with the fact that the slide is moving through each microtone as it moves up or down a string. And then that gets seriously elongated, producing some haunting sounds. But the vocal qualities produced here I still don't understand!

    "the opening melodies"

    I guess you mean the lead melodic guitar starting 0:21. I used a section of that guitar playing for timestretching (and sprinkling throughout the track) as the chords are so pleasant. Strange to put that kind of melodic chill vibe over this powerful doom-like stuff. I think it actually stops it from being doom.

    I'm working on a chillout ambient funk remix/continuation of this track right now though it's not going too well.

    "the feeling of sheer joy you seem to feel when just rocking out."

    Very pleased to hear you feel that too as my instrument playing is mostly about joy and groove and melody. Even when hard rocking or playing metal it's very rarely aggressive but about luxuriating in powerful, psychedelic sounds and fun grooves.

    "It's gonna take a few listens to capture everything that's going on here"

    Always the aim with every track I make. I look to make deep stuff that offers more and more and that is unlike throwaway pop music.

    Thanks again.

  13. thekunig
    thekunig on Mon 7th Dec 2015 - 8 years ago

    Its like Jimmy Page recruited Jeff Beck - I really love this - love the driving drums coming to the fore later - great stuff


    Reply by StaticNomad

    Thanks though I'm definitely not in the league of either of those two guys.

    Jeff Beck is not my favourite guitarist (not quite sure who is, actually) but I feel he has pretty much the greatest "touch" on that instrument of almost anyone I've heard ie his control of the strings is just amazing.

    However, I'm not really sure either of them do anything quite this heavy but I could be wrong.

    " the driving drums coming to the fore later"

    I'm thinking you perhaps mean around 7:12 when they get really heavy. Lots of driving drumming before then but I had to try to save some heavy, crashing energy for the end.

    Thanks for the feedback.

  14. Burtsbluesboxes
    Burtsbluesboxes on Mon 7th Dec 2015 - 8 years ago

    I'll get that 1 bpm epic doooom track together so you can shred over it :D

    Reply by StaticNomad

    OK. What I'd do is speed that up 100 times and then shred over it and add that playing to the original 1BPM doomgroove.

    Then I'd take the 100BPM fretwank widdling and stick it through the extreme timestretch software to create haunting ambiences. A little like what I've done in this track.

  15. Burtsbluesboxes
    Burtsbluesboxes on Mon 7th Dec 2015 - 8 years ago

    Melodic metal my favorite metal \m/ especially melodic doom 3:) I like that idea of time stretching guitar parts for vocals haha!! I love how dark it gets, the vocal(guitar) is kind of creepy. I'll play this again tonight on my stereo after work, may have more thoughts. Speaking of 800x slower, have you heard the spongebob theme song slowed down 800x? https://www.youtube.com/watch?v=4Oyo4Bcy1Sc Who lives in a pineapple under the sea? Why, Cthulu of course!!

    Reply by StaticNomad

    Yo, Mr 4.

    Is melodic metal your favourite type? I'd expect you to prefer something creepier and darker.

    I do wonder if the large amount of melody might put off some metallers. No doubt death, black and grindcore types but let's not worry about them.

    "I like that idea of time stretching guitar parts for vocals"

    No, that wasn't my idea - that was just the lovely surprise with how things turned out. I simply took a few guitar parts from within the track, timestretched them 800% and reimported them and spent ages arranging and trimming them.

    " I love how dark it gets"

    Yeah, that's the dark middle eg 4:18 with some crashing cymbal work. Then out of the relative darkness and back into the light for a triumphant ending.

    "have you heard the spongebob theme song slowed down 800x"

    No cos I'm not interested in that but I've heard loads of well known tracks slowed down 800% on Youtube. I think that's probably how I came across the Paul stretching software.

    My favourite stretchy track is the Indiana Jones theme - Raiders March.

    "may have more thoughts"

    As always - come back if you have any. I'd rather hear about this track than Spongebob.

    Take care.

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