ValveDriver

Anubis, how's it going?

It's been a long time since I've listened to any hardcore. After listening to this, I'm trying to remember just exactly why it is I quit listening. This is an awesome piece!

I like the fact that there are a lot of transitions. I think, that's why I steered away from it, so long ago. It seemed to be TOO repetitive. It seemed like there was 2 minutes of intro, and 1 minute of meat. This one gets right to it, and then keeps you moving through the whole thing. Honestly, I think this one could be doubled in length and it would be even better. The energy level is so high and addictive that it's over too soon. At least, that's my opinion, anyhow.

Awesome work, and it's good to see you back. (I don't know if you remember Valvedriver, but that's me)

Take care.
Sloe.

Igor, hello.

Yeah. This needs work. A lot of work. But, based on your comment stating that you didn't realize that there is a world of mixing technique, I'm assuming you're just starting out with the whole music thing. So, I won't hold it against you

Something else this is lacking is structure. It's basically just a bassline, and a beat on repeat with seemingly randomly placed noises, and vocals. There's no intro, no transitions, no bridge. Here is a link to a great explanation of structuring a dubstep song. He has quite a few other super informative videos as well.

https://www.youtube.com/watch?v=bvsI0B25zlI

Overall, you're on the right track. A little direction and a lot of practice and you'll be putting out some good work.

Take care, and keep up the good work.

Sloe.

Spiv. How are you doing, man?

I like this one. If I had to describe it to someone who has never heard your work, I would tell them to imagine as if Nivek Ogre and Mothersbaugh founded RevCo. Not to minimize your creative talents by comparing, but rather to say your abilities sit in good company.

I like the sense of urgency in this. It's like a manic feasting, or compulsive consumption.

I'm still amazed at your abilities to use full analogue. I might be able to figure out how to produce a sound. (singular), but I'd definitely get lost trying to figure out routing, and patching. Therefore, I have a healthy respect for your work. I tip my hat to you, sir.

Take care.
Aaron.

Neo.

Dude.

Seriously, man. This track spoke to me. It's the perfect amount of psych, space, and melody. It's droning sub, the slow movements. Your use of atmospheric synths are impeccable. They are placed so well, that you don't really notice all of them. But if you were to take them out, you would definitely miss them. It's super wide open, spaciously speaking. It's nice and mysterious. To me, it's like what I imagine being adrift in space without a ship is like. But, not one of those Major Tom mishap drifts. The kind you'd take if you could, just to be completely isolated from everything, while being totally at one with it all.

I had to download this. Funny thing is, it's over 4 minutes long, but it could easily be another 4.

Highest praises from ValveHalla on this one brother!

Take care.
Aaron

Hot Damn, Bromeo!

This is like Primus fell into a Vat of Van Halen and used Edgar Winters' towel to dry off.

Funny thing is, if someone said, without telling me who it is, to "listen to this" I would have known right away that it was yours. You have a signature sound that you take with you on every track. That's a good thing. It makes it yours and yours alone.

Good lord, that ending is a heavy one. Bravo! Yes. this is definitely your heaviest one yet. At least of the ones that I've heard. I need to get caught up on everyone's new tracks. Link me the ones you think I need to hear for sure!

Talk to you later, Dewd.
Valv...er, uhhhh. Sloe.

Yo yo yo, from the Dirty Sloe!

Let's begin with the track, then we'll get to business.

First, the production quality of this is spot on, flawless, my friend.

You have an interesting style. It's definitely all your own. I know that in the past there has been comparison to Justin Chancelor. But, I think the only real comparison would be in the tones. The playing style has it's similarities, but the overall emotion and underlying themes are vastly separated. Which, in my own ear, makes it incomparable. Yours is a much more inspiring sound. Like the rise of the unsung hero. Even when you go with a darker theme, there is still the moment of triumph. As in, victory. Not the motorcycle. Or the insult dog.

This track is no different in that regard. The opening riff sounds like the beginning steps of an arduous journey. And as the song progresses, so too does the "hero".

You have a way of combining such light elements to create a heavy sound. But never with any overcrowding.

I hear the "Irish" in there too. It's the "widdly widdly" combined with the tone of the guitar. It has a very Celtic sound to it.

Listening to this, I can hear exactly what kind of synths, and where I would put them. Not that it needs them, it's just how my brain works.

This is definitely a rocker. Awesome work, as always.

Now, about the other stuff. It's funny that you guys brought this up. Because, not only have you and I talked about collaboration, but just the other day I was wondering what would happen if Static and the Valve, or Sloe, or whatever you want to call me. (Personally, I kind of regret the name change, but after making such a histrionic deal about it, I'll just leave it. Unless there was a mass uprising for the return of Valvedriver from the dead. Which I don't see happening.), were to join forces and bust out a collab. I imagine it would be something like trying to smother a fire by dowsing it with gun powder. Or, nothing like that at all.

I'm fully game for giving it a shot. Just keep in mind that right now about 90% of my time and emotion is going towards that ##### I've been dealing with since August. Of course, this might be a great distraction from it, too. Maybe it's what I need to be inspired enough to actually put out a good track again. It's been awhile. Either way...I say go.

I haven't replied to Static yet, but will be doing so shortly If you talk to him in the next day or two, let him know I'm on board, and will be getting a hold of him.

I have a bunch of tracks that I've started, or are just sitting there in "sketchbook" form. Maybe you guys can do something with them that I never even thought of.

So, yeah. Get ahold of me when you have something that needs the dirty sloe synths, or whatever I can contribute.

Laterzgaterz.
Aaron

Come to find out, all this time we thought it was Pontius Pilate who ordered the crucifixion. Well, they were mostly right, but Pontius Pilate is literally translated into English as Pudding Pop. The gospel according to Larry, who was a guy that stuck around after the crucifixion for the hot-wings and beer garden, states that afterwards, Pontius Pilate went back stage to change into his "fly street threads", later described in Larry 3:43, "And lo, Pontius did come forth into the beer garden draped in fresh fly threads. Knit sweaters of many colors which do not compliment each other. His kakhis were neatly pressed and fell slovenly upon loafers, in which he carried a coin in the tongue. A penny for each shoe. No doubt to display his might and wealth. Upon his tacky sweater, he wore a tag to identify himself among the noblemen and peasants alike. Scribed on the tag, it read, "Hello. My name is Bill" and in his hand, he did carry a tray of frozen fudge treats, and gave offering to his people as a show of good faith in their loyalty to "The Cos".

That's truth right there. It's in the book of Larry.

This is good. It's not exactly my preferred style, but the mix is clean, and sounds nice and clear. The panning is good. Nothing overcrowds anything else, and the vocals sit well. The bass sounds a little heavy, but that might just be these headphones. They are a bit bass rich.
Overall, good work.

Welcome back to producing!

Take care.
Sloe.

Orlando, How are you? Well, I hope.

Often times, I begin a track with no idea where it's headed. A lot of the times, I try to build something similar to thi in the sense that it's a minimalist, drumless soundscape. But that creative force that lives in me always brings forth the driving beat. Just once, I'd like to create something as ethereal, and captivating as yours. Maybe you're much more at peace with yourself that I am. Which leads me to ask the question: Does the creativity reflect the state of mind, or does it influence it? When you create these pieces, do you let the music channel through you, or do you bend the ambiance to your desire? Myself, I believe that music has always been here. Long before we were, and it will be here long after we're gone. We are nothing more than a vehicle for it to be presented to us. We give it it's voice. But, there are those who simply let it flow through them, and then there are those, more like myself, who, although let it flow, bend it to fit my own agenda. Your pieces are almost always so calm, and reflective, where mine are always aggressive and driving. Even in the more "fluid" works. It's interesting that yours, and mine, evoke such strong emotions in the listener, but they are so far apart on the spectrum.
At first, I didn't really listen that deeply to your work. But much like a truly good cup of coffee, there are so many complexities, and elements that go into it, that it takes time to fully learn and appreciate everything involved. I'm glad I kept coming back.

Thanks for sharing, my friend.

Take care.
Aaron.

Let's do this, shall we?

Jesus H. on a popsicle stick, man! I don't remember you using your vocals in any of your previous tracks...You should do more.

Let's start with the production quality. Top notch, man. Everything sits exactly where it needs to, it's crystal clear, the highs aren't too bright, the lows aren't clipping, and the mids aren't muddy. Perfect. The panning on everything is nice and balanced. Kudos my friend.

I'm not sure what happened, man, but about 3 songs ago you kind of took off in leaps and bounds. Not only in the production quality, but composition, and creativity. Your songs, now, are so much fuller and complete.

I don't have any suggestions or critiques for this mean mofo. I think you've surpassed my abilities to do so.

Dude, this is seriously a bad mothefucker. Sorry I didn't get to it sooner.

Take care, mister.
Aaron.

The only time I use my phone speaker is never. when I'm truly listening, I always use the buds. I know your work sounds best through buds, or headphones. Mine is the same way. Very stereo oriented.

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!

Damn it, man! I so badly wanted to listen to this one, but my jerk-ass phone isn't cooperating. I'll have to wait to get to this in the morning when I get home from work. So, since Arnold rode a mean motor scooter in T-2, I'll leave you with this overly clichéd, yet relevant catchphrase: "Ahll be bahk."

Topvega, how are you, man?

This is a great track! I kept seeing comments about vocals. Personally, I don't think it's really set up for vocals. There's a lot of guitar in there! That's not a bad thing, either. Funny thing is, when it first started, my brain went to John Lennon, then to Iggy Pop, into Mick Jagger, and then finally Josh Homme. The music is such a perfect blend of all of them, that any of them could fit in perfectly.

Excellent work, man.

Take care.
Sloe.

Such a commanding intro!

Your layering here is impeccable. It reminds me of an oncoming storm. I like the introduction of so many different instruments, as if they're all just waiting in line to perform their hearts out.

Honestly, Orlando, I think of all of your work that I've heard, which is quite a few, by the way, this one might just be my favorite.

The mix/mastering is super clean, spacious and rich. Excellent work. Keep it up, my friend!

Take care.
Aaron.

Statician, the reso-magician! What's happnin', man?

This is most definitely a rockin' track, bro!

The time-stretched apaco-tars are a nice touch. I really liked that part. Personally, I would have extended it for it's hypno-trippiness. But, that's just because I really dig the longer, chilled out, ride driven interlude. (see: Every track I've ever made.) Personal preference, not a suggestion.

Honestly, in the intro, I didn't get Zep at all. It sounded more Texas roadhouse blues. Which, granted, Zep plagiarized plenty of...

The guit-fiddle lead starting at 6:13 is very pleasing.

I'd like to leave a much more detailed review, but it's een an exhausting week and my brain is only firing on 7 cylinders. I'll have to return and give a more thorough one in the near future.

Until then, Nice track, bro! Take care.

Evan, Mister Evan. What's happnin' your way, man? How was your Thanksgiving? Pleasant, I hope.

Remember that time I said you're on the verge of breaking through into that sound that's all your own? Well, my friend, you are well past that threshold. Granted, this one still has some pretty hefty nods to those who's name shall remain unspoken, but it's like the equivalent of my "Red On The White" in that sense. It's got a strong Floyd vibe, but it's not intended to sound like them. Ya know?

I have to agree with Tumbleweed, man. This one is clearly your best yet. I kind of feel like saying this on damn near every track you put out cheapens the meaning, but when you come back with each track, it's improved far beyond the last. The composition, the mixing, the instrumentation, all of it is exactly how it should be.

I have no critiques, criticisms, or suggestions, man. You nailed it as far as I'm concerned!

I'd still love to do a collab one of these times. You know, put in my synths real Sloe like right into your Bass hole...er, uhhh....NO HOMO! I need to go wash off the filth now.

Later, man.
Aaron.

"War. War never changes.

Since the dawn of human kind, when our ancestors first discovered the killing power of rock and bone, blood has been spilled in the name of everything: from God, to justice, to simple, psychotic rage."

-Ron Pearlman as the Narrator of Fallout3.

As frightening, and devastating as it is, war is necessary. While I don't welcome war, I welcome the potential it brings afterwards. It's like a forest fire. It may burn the forest down, but the ashes leave the soil enriched for a completely new growth of healthy life. We have reached a point in our time where our understanding of technology, and social equities have outgrown the primitive attitude toward them. Mentally, we still live in the dark ages wielding pitchforks and torches at anything that seems "different to the masses." The generation coming up now has an advantage that those of us born before 1980 don't have; Understanding. An understanding of fairness, simplicity in work ethics, technological advancement, and I believe, the ineffectiveness of the old world political beliefs. If we are truly on the brink of another world war, I have high hopes that the "millineals" will rebuild the human race as it was meant to be. With compassion, kindness, and peace at the forefront.
I've always said, "Times change. People don't." I'm hoping to be proven wrong."

Oh....wait, this is supposed to be a track review. Not a philosophical ranting platform. Let me just climb back down off of my soapbox.

Onto the track review.

The concept:
A good one. It's obviously thought provoking, and touching. Which is exactly what art is supposed to be. There is definitely a story told, and the music is fitting for the emotions you're trying to convey.

The composition:
You managed to pack in 75 years of war into under 5 minutes. It wasn't rushed, and everything played it's part well.

The mixing:
I think, mainly due to, what I assume is a lack of experience, the mix was a little crammed. Almost everything sits directly in the center. If you had panned them out it would have created a much more spacious, and dynamic sound. Which, let's face it, war is spacious and dynamic.
The laser sounds, some of the synths, and a few of the sound effects are, however, panned nicely.
I think some of the levels could be brought down a little. There are some things that overstep others. Remember, when mixing, it's always better to bring the volume of one thing down, than to raise the volume of everything around it.

Overall, man, I give this a thumbs up. You're doing good things here. Keep it up!

Take care.
Sloe.

Hey, man. What's happnin'?

I think your definition of "heavy" and mine differ greatly. But, with all that low end going on, I can definitely agree that this is a heavy one.

This is a clean track. Everything is placed exactly where it should be. Nothing crowds anything else, and everything is buried in the mix. You have a great balance of sounds that cover the range. There's heavy low ends in the subs, good mids in the pads, and synths, and highs in the chimes/bells. There's actual melodies, not just a bunch of spliced wubs, growls, and screams. it almost reminds me of something I would do. Like Soundhound said, "This is musical..."

Excellent work, my friend.

Take care.
Sloe.

I wouldn't say it's the worst track ever. Incomplete, but not the worst.

Evan. What's happnin' brother?

All those change ups, man! This is a solid piece. The energy is high, and positive.

:44- I love the contrast between the two basses. The staccato, almost reggae back drop being held together by the sustained, more melodic line.

The piano in this is...inspiring. Especially when backed by the strings.

The percussion in this one is excellent. The levels are all good. Nothing seems to be either drowned out, or overpowering

4:26- The melodic flow of the guitar is almost silk-like

This is good, my brother. This is good.

Take care, man.

Aaron.

Hey man. What's happnin'?

This is great. It's got a late 80's/early 90's industrial feel to it. Which was exactly the time I was into it, so I tend to like this one quite a bit.

It's definitely a pretty dark tune. The beat is solid and drives along nicely.

I agree with Cru. The phone samples are a nice touch.

As far as the mix itself, it's very clean, and everything is spaced perfectly. I don't hear anything crowding anything else.

Good job, man!

Take care.
V.

Yeah. You may want to think about investing in licensed software. It generally doesn't come with the glitches that cause your projects to crash, or make things more difficult than they need to be. Oh, and the lawsuit stuff. It doesn't come with the threat of lawsuits, either. All that, plus, it's not looked too highly upon around here.

I'll swing by later to give a more indepth review. I use FL studios, too. So, I should be able to get pretty detailed.

Again, Take care.
V.

Keep it. Just spend a little more time with it. It's not a bad track at all. It just needs a little more attention.

There's a lot of clipping in it. Which means it's too loud. I know loud is good in Dubstep, but too loud is not. I'm assuming you have your instruments, drums and synths assigned to their own mixer tracks. If not, do. From there you can adjust and balance out your levels. pay close attention to which frequencies are the loudest in each instrument. For example, if your kick drum and your sub bass are both peaking in the 30-50hz range, cut that range a little in your kick, You'll still get the kick drum pop, but it won't be competing with the sub bass. Ya know what I mean?

Also, from your mixer, you'll be able to play with the panning. Because, as it is now, everything sounds like it's just piled up in the center. Not only will individual panning and stereo separation give you some sweet dynamic movement, and fluidity, but it will create a more spacious mix. But most importantly, it will clear up some of the overlapping frequencies that contribute to a lot to that clipping.

I'm not going to go too far into detail on the specifics, because I don't know what kind of set up you're using, or if you'll even reply to this with anything more than, "Thanks bro. Laterz!" But, if you seem genuinely interested I'll add more.

Take care.
V.

Neo. How's it goin' man?

Yesterday, my wife and I were driving west in the evening sun. She started ##### about how bright it was. I looked at her, and in a deadpan voice said, "Now, go out and get yourself some big black frames."
Without skipping a beat, she says, "With the glass so dark they won't even know my name!??"
I love my wife just a little bit more, now.

This is some fine-ass guitfiddlin' my friend. The others are right about the tone, too. It's a spot on recipe for that Texas flavor. I've always loved ZZ Top. Much like you, I prefer the earlier years. I like everything post 1983, but I can't recall any tracks that really stand out, like I can the years before that.

I can see why a few others have made mention of the drums, (or, lack thereof.) Usually when you think Texas blues/rock, you think big rockin' drums, and heavy basslines. My brain was expecting some to kick in, as well. But, taking into consideration the information you gave us in the description, the drums are just fine, and serve their purpose just as planned. I do think there could be a little more variation, but it's no deal breaker for me. I still like it just as it is.

" Valvedriver probably doesn't have any Peyote up there in the hills, but them shrooms of his are just as potent!"

That's all you need to say, brother!

...and, with that being said...
Take care, my friend!

Aaron.