ValveDriver

This right here is what Rammstein would have been if they came out in the early stages of Industrial back in the late 70s- early 80s. Imagine a Rammstein without Til Lindemann and this is what it would be.

I think the only thing I would have done differently would have been to add a sub bass line as a bottom end platform. It's a good and interesting mix,(both in concept and levels, etc.) and I think that sub would be Lebowski's rug. Ya know?

I hope it doesn't get as hot up there in the GWN as it is here in the US Midwest. Today is the coolest day of the week with something like 80f. By the end of the week it's supposed to be up to 100f. And the in-laws want to do a Father's Day BBQ. I think they forget I'm from the Northwest where it averages 75 in the summers. I'm a panzy when it comes that heat, man! But, good food should make it easier, right?

Anyhow, Take care, Mister C.
Aaron.

This is like Stereo MCs got ahold of a Tom Waits tune, turned it into a funkcicle and had Ray Manzarek lick it.

Cool, man. I dig it.

Take care.
V.

Wow! Spivkurl. It's been a long time, man. I was wondering how you were doing. I was generally concerned. It's good to see you're presence again. Hopefully you're doing better these days?

To me this track sounds like the relentless pounding of coffee and any other insomnia inducing stimulant for the sake of avoiding the silent moments before sleep, when the mind tends to do it's dirtiest deeds. There's a certain air of urgency and looking over ones shoulder at all times.

The aggression appeals to me. It's almost hypnotic.

Truly, Pat, It's good to see you again.

Take care, friend.
Aaron.

If you really want to get a taste of Mike Doughty's vocal abilities, check out the band Soul Coughing. That's where he really came to be known. They are a band from the 90s. Very unusual style. Even for the 90s. They come across as kind of a funky-groovy type thing, but there's a certain darkness that lurks under the surface. I love that. The darker the better if you ask me.

Honestly, I really like it. Overall, I mean. It's got a great 90's sound to it. Which, I'm partial to.

As far as the technical side goes, it does need some work.
The first thing I noticed was the vocals are off beat. If that's you singing, try rerecording them with a little more attention to that. I understand that you're trying to convey raw emotion, but with out proper timing, it sounds...off.
ZkyNate suggestion compression on the vocals. I agree. If you aren't sure how to do that, there are a lot of good videos that explain in depth not only how to do it, but why to do it. I suggest looking into those.
He also mentioned the background vocals interfering with the main vocals. I think if you were to tighten the harmonies it would help as well.
The music itself. Personally, I really like it. I'd love to hear you put some more time into this and make it a good full track. This is something I would listen to in my regular rotation.

That's just my two cents. Take it for what it's worth.
Take care.
V.

BLu, how ya doin, man?

Another good one from you. The mixing does need a little work, but it's all pretty easy fixes. Mainly just bring the sub-bass down a little in the mix. It's loud enough that it kind of makes everything a little muddy. Other than that, it's really not bad.

Your voice in this one is very reminiscent of Mike Doughty. Especially at the 2:00 mark to the end. That's pretty impressive.

You definitely have a stand out-style here at Looperman. Keep it up, man.

Take care.
V.

The D-n-B part is good. I like that. It's got a good classic beat, It's not overloaded with growly synths, (which is something I'm guilty of doing.)

The ambient beginning. I really dug that. The bass line in it is groovy as fuck. It's got a real Roger Waters appeal circa Saucer Full Of Secrets. I love the evolving synths, and the heavily reverbed background SFX. Honestly, I think you should go back and make a full track out just that.

Alternatively, it would be cool if you strung some of the Ambient half through the D-n-B half to kind of tie them together a little more. Maybe bring the evolving synths into it, or work in that bass line.

But, that's just my own opinion. Take it for what it's worth.

Overall man, great track.

Take care.
V.

Ha! Sorry. We started in 2012. Not twelve years ago.

I like it. It's got a good funky-ass groove to it. The guitar is pretty cool, but the bass line takes it for me. Between the music and the description in the Lyrics section, I'm willing to go out on a limb here and say that you're a fan of the P-funk. But, really, how could anyone NOT be, right?

In regards to Mr. Crucethus, I think he and I started here at the Loop just weeks apart, 12 years ago. It's been a hell of a journey watching him grow and evolve as an artist. I've always been able to count on him for some interesting-as-fuck insights, comments, and criticisms. His complete lack of regard for in-the-box rules of music is inspiring at the very least.
There are very few artists here that participate like we all did back in the hey-day, but you new batch of regulars...I like you guys. You keep the feeling of community alive. The place has a pulse again. Good on ya for that!

Take care, man.
V.

This is a pretty cool mixup.

I was especially digging 2:50 to 3:50. In my opinion, that whole section could have been doubled in length. It's got such a nice ethereal groove to it, that it was over before it started. So to speak. But, then again, I'm a fan of really long instrumentals. That's why I listen to Doom Metal. HA!

Anyhow. I really dig the genre mixing. You made it sound good.

Keep up the good work, and take care.
V.

Yeah, it's got some of that old hardcore style. The vocal samples need a few effects on them, though. With them being so dry, they don't really seem to fit in the mix. They're chopped and placed well, just a little to bold and dry.

other than that, good track over all.

Take care.
V.

Yeah. I think I really dig your work, man. Of the three tracks that I've heard from you, I think the style on this one really compliments your voice the most. It's got a bit of a Rev. Horton Heat/The Clash/Tom Waits thing happening.

I look forward to hearing more from you.

Take care.
V.

Ok. So, at first, I wasn't sure about it. But after a couple seconds, I was totally on board.

First, let me say it's good exactly how it is. But in my head, while listening to it, I kept wanting to hear the vocals as if they were being sung through a Megaphone. As in, the low and high frequencies dropped, and a layer of distortion over them.

Like I said, though, it's perfectly fine the way it is. Maybe you can take this as an idea for a different track. Who knows?

Good job, man.
Take care.
V.

Oh, Leon...what have you done?

This comment is probably going to take at a minimum, 4 listen-throughs.

I've listened to many of your songs. All of which I absolutely love. They all have so much depth and feeling. They always capture the beauty of life. Even in the more melancholic ones. But this one, my friend, in this one you go to a place that I haven't heard from you, but I always knew was there. However, you do it with absolute authority.

The piano in the opening is by far the most important moment of this song. They tell the entire story, in just those 7 chords. Everything before, and after that is just an explanation.

This is a very introspective piece, but it's also a perfect social commentary on the world today. Especially from the perspective of those of us who were here before the massive influx of technology. The beginning being a distorted memory of a peaceful, natural world. Those pivotal piano chords being the moment when you realize that all of that is gone. Overshadowed by what's to come. It could be health, age, or what I'm guessing it to be, the technological machine that has brought a darkness over us all.
But you know, even in the midst of the darkness, and the aggression of the lower guitars, and the chugs, (which I absolutely love!) There's still a level of determination and refusal to be consumed.

Dystopian.

That's how I would describe this track. I know you said that you used "Industrial" more out of necessity than reality, but I would certainly go with Dystopian.

Up until the drums come in, it's like standing in one point just taking in the surroundings. Looking at everything and how it's become a charred shadow of it's former self. Whether that's literal, or symbolic. But when the drums start, it brings a new level of determination and an acceptance of the fact that you need to just carry on regardless. The clean guitars, and the piano that's sprinkled in throughout this part accompanied by the guitars harmonics deliver a feeling of peacefulness that says you will still find the beauty even in an ugly world, and you will not be broken.

Leon, this one is by far my favorite of yours, and not just because it's a darker theme. I mean, that helps, but this one seems to tell a much more poignant story. It has a level of vulnerability that your other work doesn't have. I would even go as far to bet that you felt you were in a moment of weakness when you wrote this one. But let me assure you, this is your strongest piece yet, and it reflects your own personal strength and drive.
As an artist and a person, I have tremendous respect for you, so hopefully, I didn't cross any lines in my assumptions on a personal level.

Oh, it was a grand total of 8 listen-throughs.
Leon, as always, take care my friend.
Aaron.

Hello.

I really enjoyed this. It was very calming and peaceful. Even though there was a lot going on. I think it was Cru that mentioned the sax, I may be wrong. Either way, I agree. It is a great touch. It really smooths out the entire track. Just curious though, with it being so mellow and chill, how many times did you fall asleep in the middle of playbacks during it's production? (something that happens to me ALL the time! lol).
Overall, nice piece. Good work on the mix, too. Everything seemed to be right where it should.

Take care.
V.

Leon! Hello my friend! Damn. I knew I dropped by The Loop today for a reason. It's been quite awhile. I hope all is well with you and yours.

The intro in this has no specific realm. Meaning, it leaves it open to go in any direction. My imagination was already starting to go one way, and then you came in from a completely different direction with the beautiful guitar arpeggios, accompanied by the spacious piano.
When the strings come in they sound as if they're Celtic strings that have been kissed by the middle east.
A nice simple drum beat. But that's what it needs to be. Any more and they would overstep their boundaries. The other percussive elements fill in the spaces perfectly.
Leon, I have always been a fan of your layering and overlapping transitions. You do not disappoint here.

But, then again, you never do.

Beautiful work as always, sir. Once again, I find myself wishing I could tap into the peaceful part of myself and create something that isn't so...aggressive.

Until next time, my friend, as always...Take care.
Aaron.

I completely agree with sticking to your signature style. But I also think you need to allow room for improvement and evolution.

As far as this track goes, I like it. It's got a touch of Depeche Mode, Massive Attack and a little bit of Dead Can Dance. Which, until now, a combination that I never thought would have worked.

Good work. Keep it up.
Take care.
V.

Ok, I was there. In the 80s when all this was happening live. If you had put this in a mix with other tracks that were actually produced back then, without telling me, I most likely wouldn't have questioned it being there. The reverb on the kicks and snare, the "kick/snare/kick/kick/kick/snare" beat, the brassy synths, the bouncy bassline. It's got it all. I think as far as the mix goes, there may be just a little too much clarity in the top end. I seem to remember it being just a little muddier. But, man...not by much.
I think the "missing element" that every one seems to be searching for, (aside from Robert Smith style vocals)is guitars. I know it's 80s synth style, but considering we were just coming out of the "classic rock" guitar driven decade, they were still a prominent feature across the board. Even in the then infant genre of rap. There needs to be some reverb drenched, low gain guitars in the backing rhythm section.
I wonder if the other artist that Lek can't put his finger on is Gary Numan. It kind of reminds me of him. Maybe just a touch of super early "With Sympathy" era Ministry. Or even some Eurythmics. Damn, there were so many good ones!

Excellent work! Keep it up!

Take care.
V.

That's a good question.

By "Variation in the drums" I mean switch up the beat a little bit. Different patterns. Right now you have the same beat going through most of the track. It's a good beat, but with some different ones, it could really enhance the dynamics. Make it a lot more energetic, and less repetitive. An example would be to sync up with the dub-wobbles. Or kick it up to double time. Check out my track "Don't Be Afraid" for more examples. Not that I'm any master, but there are several switch ups in the drums. Some are very subtle, and some are very obvious. Granted, there is a difference between Dubstep and DnB, but the theory remains the same.

Either way, keep up the good work.

Take care.
V.

Not bad. I think a little more variation in the drums could push this a little harder. Maybe pair them up with the synths a little more. As it is, it's still good and drives nicely, though.
That's my opinion. Take it for what it's worth.

Take care.
V.

Damn, man. This is good. I like the way you have a lot of elements working together, and it still sounds very minimal. I love that.
The mix sounds good. At least in my earbuds, they do. Nothing sounds out of place. It's a nice wide track with crystal clarity. The highs aren't sizzling, and the lows aren't clipping or muddy. Sounds good.
Personally, I would have given the track a little more length by running the full intro again at 2:24, right before the build up. But, replace the siren synth with the flute from the second drop. That's just me, though. I have a habit of running them long, so take it for what it's worth.

Either way. I dig it. Great work.

Take care.
V.

I'm not sure what makes it House or not. But overall, it sounds good to me. Honestly, it has a touch of Beastie Boys circa Paul's Boutique.
The only issue I hear is that Phone ring sounding synth that we first hear at the 0:02 mark. It's a little bit loud in the mix. Just a minor thing really.

Anyhow. Sounds good.
Take care,
V.

Hey man. How's it goin?

This isn't my genre by any means. I don't know what makes hip-hop what it is. But, that aside, I really liked this for what it is. I'm sure it's meant to have a vocal track, but in my opinion, vocals get in the way. That's for EVERY genre. Except maybe Tuvan throat chant. You know...where it's nothing BUT vocals.
The only thing that seemed to be missing in my ears was a sub bass line to accent the percussion. Other than that, everything sounded great. The mix is nice and clean, everything sits right were it needs to be.
Good work. Keep it up.

Take care.
V.

This is a pretty cool tune. I'm diggin' the vocal skills.

It totally sounds like a John Lee Hooker and B.B. King hybrid!

I would say it's more mid 40's Delta blues than it is 20's Jazz, though.

Either way, excellent work. Keep it up!

Take care.
V.

This is what would have happened if Vince Guaraldi and Dave Lombardo collaborated.

The contrast between jazzy keys and metal drums was very interesting for sure. But, as someone who's been listening to heavy metal since it's infancy in the early 80's, I'm totally digging the drums. Danke was spot on in recognizing the Lombardo-esque style there.

Kudos to you and your band.

Take care.
V.