StaticNomad
LONDON, United Kingdom
Joined : 22nd Apr 2011 - 14 years ago
Last Online : 1st Jun 2024 - 1 year ago
Comments on StaticNomad tracks
Other users have posted 654 comments on tracks by StaticNomad
on We Invade The Night by StaticNomad
This track is outstanding...
Is there any chance to send me or not?
It would be greatful to listen this track many times and in many places... :-) (home, car, school...)
danke6706@gmail.com
With appreciation, Danke
Sorry, I can't send you this because I never allow anyone to have my tracks.
I often go back and make changes (sometimes really big ones) so I don't like to have inferior versions of a track on other people's computers.
I know that you give everything you make away for free all the time but I don't really understand that.
I would love you and other people to be able to listen to my many tracks away from the computer. But I need to put together some proper albums and then give them away for free.
This is the first time you've asked if you can have one of my tracks so maybe this is your favourite piece of music by me.
Thanks for the interest and sorry I can't help you this time.
I will probably eventually give away everything I have made (15 albums) but I'm not ready for that yet.
on We Invade The Night by StaticNomad
on We Invade The Night by StaticNomad
I don't care what you think.
It has no meaning to me.
on Right Place Wrong Century by StaticNomad
Mate a amazing piece of work, love the eastern vibe, that's what I think took me on the journey this piece conveys so well, every thing sounding excellent, it one of those tracks you get lost in...Would rate this one up with one of the better tracks heard on the loop....This is show casing your talent to a tee...Big time fav...Peace n Respect...Mosaic...
This really is one of the most special pieces I've ever made. It has a vibe and attitude and level of proficiency I wish I could come up with all the time.
Sadly, that just isn't the case. So I guess I have to celebrate real achievements like this.
I think the Eastern vibe is giving this a badass sort of edge, even though it's not a heavy track.
The two other tracks from the same project as this are just as good, if not better. Check them here:
http://www.looperman.com/tracks/detail/151799
http://www.looperman.com/tracks/detail/150919
Thanks for stopping by.
on 9000 Years Too Young by StaticNomad
i keep it to 2 words.
Nice track !!
i increase it to 3 words and 3 exclamation marks.
Nice comment bro !!!
on 9000 Years Too Young by StaticNomad
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.
on 9000 Years Too Young by StaticNomad
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.
"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.
on 9000 Years Too Young by StaticNomad
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.
on 9000 Years Too Young by StaticNomad
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.
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.
on 9000 Years Too Young by StaticNomad
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.
on 9000 Years Too Young by StaticNomad
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!
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...
on 9000 Years Too Young by StaticNomad
Compliments_____Orlando
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.
on 9000 Years Too Young by StaticNomad
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).
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...
on 9000 Years Too Young by StaticNomad
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
"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.
on 9000 Years Too Young by StaticNomad
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.
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
on 9000 Years Too Young by StaticNomad
Man you are way above almost reaching heaven with your music.
Great job well done
Thanks
Jamid
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.
on 9000 Years Too Young by StaticNomad
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!
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.
on Way Beyond Wrong by StaticNomad
I don't do a lot of hip hop but I'd like to do more.
You can probably guess from all the other genres I merge into here that I'm better at those than hip hop. Rock, funk, blues and deep groove stuff is more my natural home. But I've always loved hip hop for its mid-tempo beats as that's the kind of tempo I work best with. Once I've got that cool sort of groove down, I find I can happily switch to double tempo, as in this track, and I'm not lost.
Dobule speed something that has a good groove seems to work well for me whereas if you start me off with something fast, I can be a bit overwhelmed.
This track definitely is out of the ordinary. Let's just say that the banj-metal-hiphop-jazz genre is not likely to catch on anytime soon.
My favourite section here probably is the final return to the hip hop at the end. Feels like the track's coming home and it's quite sparse, which seems to work well in contrast to the much busier sections.
Thanks for your thoughts.
More hip hop related tracks coming in the next few months.
Until then, you might get on with one I made called The Shit. That's got some hip hop in it, especially in the second half.
on A Little Bit Of Infinity by StaticNomad
Another standout one made in the last year is this:
Honey Mango Heaven.
http://www.looperman.com/tracks/detail/162441
They would sit well together on the same album though maybe I will put them on different ones. Not sure yet.
on Emperor Tritone by StaticNomad
Yes, fun swinging beginning. I'm totally with you on being happy to listen to just the swing throughout ie no metal. But you know what I'm like and I constantly feel compelled to do stuff that's different and hopefully something I haven't really heard before. So, the metal middle could be removed as its own separate track but then I wouldn't have jazz metal and I'm pleased that I've finally managed to pull that odd merger off.
It was really coming up with that evil synth horn sound around 2:55 that I decided it must go into proper badass metal.
It has to return to the smooth stuff around 6:00. Mostly because I just had more of it and didn't want to wait too long to get to the heavy shit. I could have done, say, smooth swinging for 6 mins and then a couple of minutes of heavy. But making them more integrated I find more fun.
You may be interested to know that all the clean guitar playing (ie everything other than the metal middle) was done in one single 11 min take, which I then extensively edited and moved around and layered where necessary. I simply found that I'd done everything I needed in that one take and didn't need to bother picking the guitar up again (except for the heavy shit). It's this type of approach that I've suggested many times for you to try though I doubt you will as you're probably too set in your ways.
So, you still get to do a single take but you then chop it up a lot more to come up with unusual stuff. If I find a cool riff in that long take, I might copy and repeat it a few times and then get other instruments to play the same/a similar thing. This really is how I compose! Just jamming with good riffs and fills over 8-16 bar loops and then seeing what good stuff comes out and building everything up.
"well programmed softer style drums with just the right amount of meat..."
I think you might be referring to the penultimate section starting around 7:30 where I bring back the emphasis on the tritone and metal but without any guitar or banging drums. That's an attempt to give a metal feel to jazz but without the distortion or smashing drums. Rhodes gets distorted again there (wah too). I also use a snare in that section from an EZ kit which is supposed to be for drum 'n' bass. Quite a distinctive sound and not heard anywhere else in the track.
"have to confess this flew by"
That has been said quite a few times on my lengthy tracks and pleases me. Probably something to do with the number of changes and constant new developments. Very important for me not to have a boring moment. If something's dragging I either shorten it or just add more elements (normally the latter, plus lengthening things when the new elements present even more options).
Thanks for your thoughts.
on Emperor Tritone by StaticNomad
Unique is very much what I go for with pretty much every track I make.
Mike Patton has already been mentioned (I'm a big respecter of his work though don't listen to much of it) so I probably need to go check out some more. I haven't heard 'The Girls of Porn' so that might be a good place to start in his extensive back catalogue.
A groovy sound is what I almost always go for, partly because it brings the best out in my instrument playing. I'm a little lost without an at least half decent groove. An excellent one is hugely inspiring and allows me to do so many different types of playing. You can throw anything at a good groove and, with a little (or a lot of) work, you can usually make it all work.
I suspect this is smoother (ie in the smooth sections) than Patton stuff as he is more on the bizarre and experimental side of things whereas I don't like things to get too freaky and uncomfortable. I'm not making soundtrack music to accompany other events (ie on-screen). I'm making music to be listened closely to on its own. So, it has to all be enjoyable and stuff that's either too weird, boring, repetitive or annoying has to be gor rid of.
Thanks for your thoughts. I have many other strange genre mergers and creative trips on the site.
If you would like to hear perhaps my craziest genre-merging track, check the following adventurous little beast, called Way Beyond Wrong. Here's the track description:
"Probably the greatest banj-metal-hiphop-jazz joint ever. With lead saxophone, house bass, rock and metal guitars, Eastern banjo, jazz and hip hop drums and a tasty dose of drum and bass thrown squarely in your face. You can headbang or throw some body-poppin hippity-hoppity shapes to this mofo, for real. A lot of genres covered in 7 minutes so hopefully the time will fly by. And, yes, there really is acoustic banjo as a lead instrument on top of some crunching and crashing metal guitar and drums. Long live Banj Metal"
http://www.looperman.com/tracks/detail/145971
on Emperor Tritone by StaticNomad
Ha! Yes, it sounds weird at some tiny little cute parts but I liked it. :) This definitely doesn't get boring. And aren't the dissonances the fun part anyway?
Not seen your name before on here.
Hard exactly to say why jazz and metal are supposed not to work. Maybe because musicians from those worlds are seen as very different, though I guess long before you had metal, jazz was the scene in which to be somewhat outrageous and take lots of drugs and alcohol etc. Though not one in which you had an ugly, unartistic mess of tattoos (that seems to be pretty much every genre of music and area of society these days).
But it's very rare that you get a jazz instrument (other than drums or bass guitar, obviously) in a metal band. Here I've got distorted Rhodes in my metal as well as an evil synth horn. So, two jazz-related instruments mixed in with the metal. You don't really get much heavy, distorted guitar in a jazz setting. Or metal kits smashing cymbals and doing furious double kick work (also here). So, aside from jazz-metal being rare, it seems that you hardly ever get the different components entering each other's musical worlds. Though I do know of a proper metal band whose lead instrument really is piano (not distorted). A very good piano player too.
One exception would be some of the more avant garde modern noisy jazz bands in which they have atonal screeching sax playing and so on (not my kind of thing). But they rarely have any heavy guitar. It's more "freaky jazz" than jazz-metal but still heading towards the more extreme side of things.
Yes, the dissonances are kind of fun and there's a big emphasis in here on the tritone (or flattened fith), hence the title. I'm mostly about trying to find beautiful sets of notes as I try to keep everything melodic. But, when you get it right, there can be a certain beauty in dissonance and weirdness. I find it helps if you make it groovy.
Anyway, thanks for your thoughts and I'm glad the track never got boring.
I'd rather be bad than bland.
on Emperor Tritone by StaticNomad
Nice sinister opening. Percussion is restrained and appropriate for this opening. Kind of a spooky sound in the begining (Which is awesome). Groove is phenomenal. first 2:30 felt like 30 seconds.
3 mins on I may have weed myself a bit.( remind me from now on to wear diapers when listening to your music) dark and bitter and groovy and spooky are the only words I can think of.
Ahh 3:52 here comes the warm metal jets. Ooh nice bringdown to the bass only and back to the metal shuffle.
The metal is intense now and really awesome. It think Val-d should like this.
5:52 is an awesome jazz-like breakdown. you have really out done yourself my friend.
7:30 is a nice silent moment.
class and perfection throughout.
love the ending
Congratulations on a great piece of artwork my friend.
Too Cool to be Cru
One of my favourite Evisma comments was on my track Valvedriven regarding some badass riffage: "Anus devastated through shit speed". So perhaps you got off lightly here.
The evils synth horn around 2:55 has some anal harmonics added after I smuggled proprietary software out of Guantanamo Bay and modified it. It was intended for "enhanced interrogation procedures" but didn't quite work as they hadn't hit on the jazz-metal formula. I guess they're DOD scientists, not musicians.
I thought you'd appreciate the opening single spooky synth note and then restrained swing cymbally stuff before the groove gets going properly. Good to hear first couple of mins flew by.
"dark and bitter and groovy and spooky"
Yes, all of those except for bitter. More joyously evil than bitter.
"warm metal jets" is a term I like. Not thought of that before.
4:12 down to the bass and it sounds really ominous and dark there. A Rhodes chord and we're back into face being smeared into concrete. That's a Valvedriver phrase and he should indeed like this. Gotta be dark enough (in places) for him.
5:52 just simplish return to smooth groove jazz. I had more of it so it had to return. Mostly because I wanted to get the metal in earlier on rather than all jazz for 5 mins and then into metal for a couple.
7:30 one of my Nomad breakdown tricks there. I sometimes really struggle to join sections together. Many times I've eventually made it work but sometimes I just decide to have a short pause, let the delay ring out and then go back into a fat beat. Also helps break up my beat heavy tracks a little, giving the listener a brief rest.
I hope you noticed that Rhodes is distorted in this at various points. Not sure I've heard Rhodes metal before. Piano metal, yes.
7:31 back to big emphasis on the tritone. This end section could have crushing guitar but I left it out to allow Rhodes and bass guitar to do most of the work. Chillout dark jazz-metal there, all topped off by a massive metal fill at 8:16. New snare too.
This is definitely jazz-metal, not metal-jazz but now you've encouraged me to do the latter so will have to do a metal track lurching into jazz. Kind of the opposite of this one.
You should form a gang/band - The Cru Crew. Or maybe the Too Cru Crew.
Thanks for the words, as always, and glad you enjoyed the jazetal.
on Emperor Tritone by StaticNomad
on Emperor Tritone by StaticNomad
You laughed your fucking ass off* and it was my track description that you found funny. Then there's a reference to, I think, Splinter, the Teenage Mutant Ninja Turtles' guru, who would supposedly also say that the track description laughs out loud. And you find either the track or the track description epic!!!
Thanks for the music feedback.
*Hope you can manage to reattach it.