ValveDriver

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.

Bananalu, what's up man?
I was working on a track and decided my ears needed a break from it, so I figured I'd see what's happening here on Looperman. What a pleasant surprize to see that you posted a new tune. I had to check it out right away.
I tell ya what, you had me hooked on the first note. That super fuzzy distortion sounds great. My only complaint with this is that it's too damn short! Do you plan on doing more with this? Because I could seriously listen to about another 5 minutes of it.
Seriously, man, I really dig your style. Glad to see you're back, even if it's only for a minute.
Take care, brother.
Aaron

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.

It turned out really good. One thing people should know is that the amount of my material for you to work with was so much less than what's here. You put a lot into it. This is totally a "Pnnywze featuring Valvedriver" track. So, you get at least 95% credit for this one.
At some point, we should do a full on collaboration, building something from scratch.

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.

So far, I think this one is my favorite of the series. I don't really think it's that weird though. This could easily fall into the Ambient category. I really enjoyed how minimal it is, but without feeling empty or boring. I wish my brain would let me do something like this.
Keep up the good work.
Take care.
V.

When I started listening to this, the piano stuck out. It loosely reminded me of the piano from Hellraiser when they open the box.
We all know that when they open the box, real bad shit happens. They think they can escape their own reality to a better one, but ultimately leading to suffering, and worse.
You could almost use "the box" as a metaphor for addiction.
Now, like I said, the piano reminded me of the music whenever they showed the box, which, coincidentally enough, and as we learn in the 4th movie, is actually called "The Lament Configuration".

Lament.

This is a good track, and it certainly is a fine homage to your friend. I'm sorry to hear that things turned out as they did. Speaking from experience, that shit is a hard one to watch and accept.

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.

This is cool, man. It has a good flow. I was impressed with your use of automation as well.
I don't know if this is only going to be a trilogy, or if it's going to continue on to 4, 5, and further. But I have to commend you for keeping the different versions totally different, but still recognizable as the same. I have, I think, 3 trilogies that I've either completed, or still in the progress of, and I didn't do nearly as well as you in keeping the theme within the music an obvious element. Something I definitely need to try a little harder at in the future.

But, this isn't about me...back to your excellent tracks.
After listening to all three in a row, I think my only very minor complaint is, in versions 2 and 3, the drums are much quieter than they are in 1. I think if you brought them up in the mix just a touch, it would really help fill them out dynamically. The synths travel beautifully through all three tracks, I think a little boost in that percussion would give them a solid foundation to playfully weave through.
With that aside, excellent work on all 3 tracks. Keep it up!
Take care.
V.

Micky, how are ya, man?
I wasn't sure if I really wanted to click on an RnB tune. It really isn't my preferred genre. But it's still better than American Country Western. But, that's beside the point.
The point is, I'm glad I did. This is fan-fuckin'-tastic! The mix is crystal. Very impressive by itself. The vocals are awesome. I really like the ping-pong delay that gives them a much wider sound, but still not crowding the place up. You know, the vocal style, not necessarily the timbres, but the style reminds me a bit of some deeper tracks by War.
Damn, man. The deeper I listen the more impressed I am. You have so many elements in here all happening at once. Not only instruments and fillers, but effects as well, and absolutely nothing is stepping on each other.
Damn fine track, man. Excellent work between the two of you. Keep it coming!
Take care.
V.

Alright, man. This is some of the best I've heard come out of Looperman in a very long time, brother.
In the beginning it has a real Lou Reed/Leonard Cohen sound. Kind of dark and smooth, almost Jazzy vibe. Then that last half kicks in and it's like Mike Mcready stepped in and said, "My turn!".
I really liked the style transition from seemingly Lou Reed to Mad Season.
The only thing I would have liked to hear differently is the last part. Not to say that what you have isn't good, because it is. I just think the guitar solo starting at 3:06 could have been a much longer jam, before settling back into what you have now. But, that's just the grunge fan in me talking. Either way, I really dig what you have. Excellent work. Excellent fuckin' work, man. Kudos.
Take care.
V.

I like this. It reminds me a lot of some of the stuff I was doing in the late 90s, early 2000s. Your work now has a far more cohesive sound and a much tighter flow, than mine did back then. Excellent work.
Take care.
V

Being in America, the "Country" genre must be something different than where you're from, friend. I almost didn't click on it because of that. The only music I absolutely abhor is American country western. But, to be very clear, that only goes back to the mid to late 70s. Anything before then was good. It's all the crap after then that I can't stand. Totally beside the point, really. What I actually came here to say was that this is a great song. It's like someone took Jackson Browne, Dire Straits and just a touch of Lou Reed, mixed them all up and slid it across a Bob Seger album just for that final garnish.
Yeah, this is a good one. You should definitely be proud of this one.
Take care, mister.
Aaron.

That's a pretty slick track you got here. Excellent work on the mix. Everything is crystal, it all sits well by way of stereo separation and panning. I like the vox as well. In the beginning, it sounds like a vocoder and some distortion, maybe? I think the only thing I would have done differently with them is add a little reverb and or delay. But, that's just my own personal preference. What you have is just fine the way it is. I like the way the second set of vox are a little cleaner and dryer.
Yeah, this is a good track. I think my only real complaint is the abrupt ending. Even then, it's a small complaint.
Excellent work.
Take care.
V.

I love it, brother! I saw that RedFang was mentioned in an earlier comment. Those guys are from my hometown.
This is has a great groove, and killer tones. Excellent work, my friend.
Take care.
Aaron.

Well, considering it's a first attempt at rock, I'd say you're off to a good start. The Rock Genre is so vast that it covers a lot of area. It does have some traditional rock elements to it, but it's really more of an Alternative-retro-pop type thing. I like the dynamics in the vocals. They're reminiscent of that period were grunge was still breaking free from Punk in the late 80s and very early 90s.
If this is a genre you're looking to dive deeper into performing, I suggest, based on your vocal timbre and style, looking into Kat Bjelland (Babes In Toyland), Donita Sparks (L7), Selene Vigil (7 Year Bitch), and Jessicka Addams (Jack Off Jill). If it's a genre you don't plan on diving deeper into, check them out anyhow....they stomped the way for so many after them.
Keep 'em rolling, and take care.
V.

I like this. It's kind of sassy, sexy and a little vague. I like the way it could be the perspective of either a ghost looking for recognition, or a brazen stalker getting a thrill from being in someones house. Depending on which context you chose makes all the difference in the vibe of the song. Production-wise, it sounds great. Everything is crystal, and well balanced. Excellent work.
Take care.
V.

This is well done. There's enough variation and accents to keep it from getting boring. Personally, I like the length of it. It gives you time to really get into it and enjoy the ride.
I only have a couple of suggestions. I think you could bring the volume up during the 2:30-4:00 section. It's a nice break, but too quiet for as little that's happening. Either that or add some kind of dynamic movement over the top of it to carry you across and justify the lower volumes.
You have an excellent use of the cutoff/reso automation. Your restraint in the beginning from going wide open right away makes great anticipation for the build.
I like the crossfading, vocoded vocals.
I would also suggest maybe bringing the snare/claps up just a touch. They're fairly quiet in the mix.
Overall, man, I'd say good work. It sounds like you put some time and effort into it. Keep it up.
Take care.
V.

This is really good. It definitely has a LOT of potential. I noticed the comment below mentioned the kicks. I would like to add to that. Bringing up the levels is good, but sometimes, especially in a genre like this, it's not a bad idea to layer your kicks. Use one that has a good fat, punchy low end, and then layer it with another one that has a nice snap in the attack. Fill out the frequency spectrum, so to speak.
Another suggestion is to use "riser", "impact" and "downlifter" one shots to build and release tension between the sections. Not only that but they give the track a much more dynamic flow.
You have done well with the essential build of the track, the automation that you do have is done well, Volume fades, cuts, etc. Everything is nice and wide, and seems to be balanced well in the mix. It has a solid, seamless flow. Excellent use of reverb. It's thick, but it doesn't muddy up the mix.
Overall, this is a good, enjoyable piece. A job well done.
Keep it up, and take care.
V.

This is a pretty slick track you have here. It reminds me a lot of the dubstep that was comin' out around 2012. It has a bit of a Flux Pavilion/Excision sound to it.
It all sounds pretty good. The vocals are a little buried in the mix. They could come up just a touch. Kind of even them out with the rest of the mix, ya know?
Other than that, great, high energy track. Quality work.
Take care.
V.

I remember when Aaron came to me with the idea of mixing metal guitars with Trap(esque) beats. My original thought was, "yeah. It could work." It's good to hear that he was able to make his vision com to fruition. It had potential to crash hard like a speeding Buick into the side of a bridge. But, I think he has enough understanding of the two genres that he was able to make it work, and work well. It's been fun watching the progression and evolution of the idea. I'm looking forward to what's to come.
Take care.
V.