ValveDriver

Hi Kay.
This is definitely an upbeat track. I can surely see why people would want dance to it!
You've done a great job with the use of your voice in this one. It's very dynamic!
Excellent work.
Take care.
V.

Pretty cool track, man.
I may be way off here, but I'm going to go out on a limb and assume that you're a fan of Rush. Or, maybe it's just because that I am, and with my own exposure to them that I associate some elements of your synth work to their sound. When I first heard the sequenced synth starting at 0:16, my mind went instantly to the intro of "The Spirit Of Radio". There were a few other synths in there that reminded me of their work over the years, too. But, to be clear, I don't mean to take away from your work in the slightest. Quite the opposite, in fact. I mean it as a sincere compliment.
So, either way, excellent work.
Take care.
V.

I don't know, man. I think it's perfect just as it is. It would be a good interlude between tracks on an album. I think, though, that if there were vocals, Beth Gibbons would be the only option. Actually, on my third listen through, I can also hear Gilmour and/or Waters as well. In fact, this does have a very Pink Floyd feel to it without it sounding like an imitation.
Good work as always. I like the way you do things.
Take care.
V.

Glenn, Hello. I hope all is well with you.
I may have said this before in an earlier track of yours, but I would absolutely love to hear a collaboration between you and our very own Mr. Tumbleweed. the two of you have a very similar style and level of talent. (That's a compliment to both of you.)
Someone once told me that what makes a truly great artist is the ability to conceal his influences. Normally, I have no problems being able to hear musicians influences. In your case, I detect none. Which makes me wonder, who are your main influences. If I had to choose, I would say Santana is on the list. Maybe David Gilmour?
Either way, beautiful work, sir. I thoroughly enjoyed a few listens through.
Take care.
V.

What an INTERSTELLAR intro. I'd say you went into OVERDRIVE on this one.
As soon as I saw the title, I knew we were in for a treat. I knew the riff before the second note started! I've danced with Floyd for decades. I'd recognize it anywhere.
I have to say, that's an interesting incorporation. With the effects you put on the guitar riff, you really made it fit well. That's not a combination I would have thought of. Industrial with some Floyd. To say it without hearing it, it doesn't seem like it would be something that could work, considering they're such contrasting genres. But you did it. You made it work.
Excellent job!
Take care.
V.

You've definitely mastered the art of dynamic movement, and creating a spacious mix.
Your choice of vocals works so well. Did you build around them, or did you have the song already, and the vocals an afterthought?
Also, do you create your own synth patches, or do you use loops/presets? So far, what I've heard of your music your synths are top notch. So, I was curious.
Excellent work here.
Take care.
V.

You've made some interesting choices with interesting results. Overall, not a bad track.
Take care.
V.

Let me tell you something, when you're 19 years old and your first experience with techno is 3 hits deep in an LSD bender in the middle of the night back in 1993, it's something you just kind of fall in love with. Even though I have been a devout metal head since 1986, techno will always hold a special spot. Especially when it's done well.

This was done well, and it takes me back to that night. Thank you.

The quality of the mix is top notch. All of your synths sound amazing. The filters and effects are perfect. It's dynamic. There is a lot of movement, but none of the frequencies trip over each other, or create any "mud" as they float around. The vocals float, but not too far above or below anything else. It's definitely a vast and wide open world you've created in here.
With all due respect to Baobou, I disagree with him on the length. When you're deep in the groove, you want it to last. In my opinion, techno songs should never be less than 5 minutes. Otherwise, about the time you fully submerge, it's over. So, in MY opinion, this could go on for at least another 3 minutes. Easily.
Excellent work. Keep it up.
Take care.
V.

This is not at all my preferred genre, but it doesn't have to be for me to recognize talent.
I am curious though, in general, with the instrumentation of your tracks, (this one and others), do you use a lot of loops, or do you create all of your own (or play) from scratch, or maybe even a little bit of both?

What you've built around the vocals is very well put together. Not only in instrument choices, but the timing and even the effects you used. The wind, although primarily in the background, is absolutely a binding ribbon that makes the entire piece. It's one of those things where you don't notice it at first, but if it wasn't there, you'd definitely miss it and the track just wouldn't be as full.
Excellent work, man. Keep it up.
Take care.
V.

JKingz, what's happenin'? I haven't seen you around in quite some time. It's good to see you again.
The title here really caught my attention, so I had to give it a play. Although this isn't a style I would normally listen to, I have to say...damn...that's a lot of talent right there. I find it interesting (in a good way) that it started out like a Mexican love song, but ended up an international choir. Having that many voices from as many different places must have been a tricky one to get recorded, synced, mixed and mastered.
I tell ya what, man. If you're not proud of this work, you should be. And if you are proud of it, you should add another 20%. This is job very well done.
Kudos to you, and everyone involved.
Take care.
V.

I don't think this is really about cake at all! ;)
I know Kraftwerk and Rammstein have been mentioned, but to me, that bassline is far more reminiscent of some old Skinny Puppy, or Leather Strip.
I'm just curious, for your synth work, do you use analogue or VST software? The different sounds you have in this are so clean and rich it could easily be analogue. If it is digital, then job well done! Well, even if it's analogue, it's still a job well done.
It's good to hear music here that leans into the industrial. There's not much of it. I hope to hear more from you like this.
Take care.
V.

Glenn, hello.
You left a comment on my track saying there are so many ways guitar can capture your attention. The contrast between that track of mine and this track of yours is like opposite ends of the spectrum. Where mine was loud, heavy and aggressive, yours is so smooth, relaxing and calm. Both tracks on the same instrument, but so vastly different. This definitely caught my attention. Enough so that I listened through 3 times in a row.
This is a lovely song. I imagine that when you're playing this, you're completely submerged in the music. As if nothing else around you exists. It feels as if you just disappear into your playing.
You truly have a talent, and shows that you have a deep passion for it.
Excellent work, my friend.
Take care.
V.

Hey man. This is really impressive for stock plugins. I mean, it's impressive overall, but especially for stock.
I think, as far as overall quality, a couple things that may help would be to use some panning and stereo separation on different instruments. For example, the different guitars. Right now, they're all centered in the mix, so they compete for space and make it sound crowded. For example, (and this is just a suggestion. I'm not telling you how to do your mix.), the pluck guitar, widen that out so it's full stereo. Then do the same with one of the other guitars, but only separate it 50%. Doing so, will give them each their own space in the mix so they can be heard clearly, and leave plenty of room in the center for the lead solo. Once you start widening different parts, there will be room for other parts to fill the space so no frequencies are competing. This will give it a much wider and more dynamic sound. Does that make sense? Hopefully I explained it well.
If you like using piano in your work, I suggest checking out Soundmagic's "Piano One". It's a free download, and you have a lot of control over how it sounds. With a little tweaking, it sounds like a live piano. In my opinion, for a free plugin, it sounds great.
Keep it up, man. I look forward to hearing more from you.
Take care.
V.

Anthony, I believe there may have been a misunderstanding in translation. I liked the song quite a bit. What I described was my interpretation of the song. As if the song was about someone who was bored with "nowhere to go". When I listened to your song, I imagined someone in a room that was watching the aquarium and spider because HE was bored.
I wasn't bored at all. I enjoyed your work!

Anthony, hello.
To me, the "Nowhere to go" is about boredom and complacency. I imagine someone sitting in a room with nothing to do, or anywhere to be. The instruments are all things that are happening in the room that he doesn't even notice anymore. For example, the clock ticking on the wall, the fish in the aquarium, the TV sitting in the corner with a late night commercial playing in the background, that spider up on the ceiling making a web. He's just sitting there tapping his fingers on the table saying, "nowhere to go" because he's bored.
That's my take on it, anyhow.
Either way...what a cool track. It kind of reminds me of something you might hear on a B-side from the late 70s or early 80s. Excellent work.
Take care.
V.

Dude! How did I miss this one?!
I'm on my second listen through right now, and I can honestly say this is without question in my top 3 favorite Danke tracks. Easily.
I love how deceptively mellow it begins. Almost hypnotic. Definitely ominous in the most comforting way. When the drums and the bass kick in, it just captivates and holds on tight.
That guitar that comes in at 0:43 is beautiful, man! I love the tone, the bending of the notes. It's very Meshuggah like. The rhythm section holding that slow tempo behind it just blends so well and creates a total atmosphere.
1:04 - I don't even know what to say, man. The change of the mood definitely lets you know something is about to happen, and my god man...it happens.
When everything kicks in...this is where it really takes off. There is some serious guitar work here. The two guitars playing two different lines, each from the two isolated guitar sections should be crowded, but it isn't. You've managed to overlap them and have them wind around each other like some kind of an elegant dance. Neither of them stepping on the other. Very clever and very effective.
The drums throughout the whole song are played so well, but in that final section when the double kicks come in, it really sends it flying.
I don't think I have enough room here to go into the mix and the effects. But If I did, it would be all high praise.
I take back what I said about it being in the top 3. Brother, this is the top of them all. I must have listened to this about 5 times while writing this. If this were available for download, I would without a doubt put it in my playlist.
You guys really outdid yourselves on this one. I think the only complaint I have is that it's not 11 minutes long!
Excellent work, and I sincerely hope to hear more like this from you.
Take care, my friend.
Aaron.

I like this. Kay, you've raised the bar for yourself with the vocals here. I like the way it's about a vampire girl, but the rhythm section almost sounds like a sunny day. Kind of a fun little dichotomy.
Good work. Keep it up!
Take care.
V.

Sounds good, brother. High energy. High gain. Chugs, Tremolo picking, super wide tracking on the guitars. Drop tune the guitars and the bass and you'll sound like a tehervonat full of bricks. Heavy and unstoppable!
I really love the change up at 0:45.
Excellent work, my friend. I hope all is well with you and the family.
Take care, brother.
Aaron

When I listen to music, either here on Looperman, or some big time artist, I like to try to identify the influences. Whether they're obvious or very subtle and hidden a few layers deep. It's like a game to me. I suppose some people might take it as me taking away from their hard work and originality. But I assure you, when I point out these potential influences, it's absolutely a compliment. I'm saying "this is good. Good like..."
With that being said, in most of your work that I've heard, Dire Straits seems to come up the most. In this song, the vocals sound like Elvis Costello in the style of Mark Knopfler. Which, is really pretty cool.
The music itself is very pleasant, and heartfelt. I like the guitar solo quite a bit. It almost has a Jerry Garcia ring to it. Not only in style, but tone as well.
With music of this quality, I can see why you've released an album. I imagine it will do well!
Take care.
V.

This! This right here! This is the music style that compliments Kay's vocal style perfectly. There's a total KMFDM vibe here. I love the fact that you guys are all over the board as far as different genres and different sounds go, but this one is definitely one you need to experiment more with. So far, this is my favorite from you guys.
If you haven't already, I suggest listening to some KMFDM, Ministry, My Life With Thrill Kill Cult, and Lords Of Acid. This track could fit in any playlist alongside those bands.
Excellent work. I sincerely hope to hear more like this from Vintage Nights. It suits you well.
Take care.
V.

I dig it, man. I remember back in the early 90s when all of this was really taking off. I liked it then, too. It's something that I never really submerged myself in, but it was always on the outskirts of what I was doing, so I do still have a fond appreciation for it.
I absolutely love the intro. The sub and the kick are blended so well. I'm assuming you had to have sidechained, but I don't hear any ducking at all. Did you EQ the kick? It has the perfect mix of low end punch and that snap on the attack. It's very clear and present without overtaking.
The synth that comes in at 1:48 has a unique sound. There's a lot of dynamics and movement. You don't really realize on the first play through that the section leading up to it sets a perfect stage for it to really move around.
Another thing that is so well done here is the different textures of the bassline. For most of the track it almost has a Vibraphone sound to it, then at the start of the second dropout, it switches over to an almost harpsichord sound. Brilliant.
A lot of times people aren't sure where to go at the end so they fade it out. Not this one, I love the way you automated the ADSR from a high DSR into a pluck for the closing. Like slowly shutting the door on it, as to say "goodnight".
Good work, man. I'm thoroughly impressed. For such a minimal sound, you have a lot of work put into this. You should be proud.
Take care.
V.

Urban, hello.
For a first attempt, this is really pretty good. It could use a few improvements here and there, though. Which is absolutely par for the course for a beginner. With a little dedication, you'll be knockin' out bangers in no time.
Keep it up.
Take care.
V.