An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
An electronic track from the Dead In The Water sessions. I thought the Last FM version was missing something, so I went in to fine-tune it.
This is the end-result of that fine-tuning.
The track deals with how there are usually no easy outs…
One part Guy Richie, one part Cirque du Soleil, the rest a trip down a gypsy campsite.
Played by me almost all acoustically (the only MIDI track was the bass) on my banjo, detuned guitar, recorder, and violin, along with various percussion items.
This album is pretty good - lyrically, it's top-notch. The mix may need a little-tweaking, particularly the vocals -- they may need to drawn out a bit more.
This song has hints of Prince in the intro but then quickly moves into a funky, dynamic groove with changes, breaks, fills, set ups and riffs that make it hard to sit still and listen. Positive lyrics enhance the experience.
From Soulganic's…
This is an electro-acoustic piece realized at Eric Siegel Productions ("where everything is a big production"). The electronics were composed, realized, and recorded by Eric Siegel, and the musicians playing are Dave Douglas on Trumpet, Gerry…
Very solid 24 hour challenge album..
There's some serious genre-channel surfing going on here, but you can still sit and listen to it seamlessly from beginning to end.
This is very moshable. =)
Okay, all kidding aside - I like how it develops around the fifty second mark, as the instrumentation kicks in. The vocals could probably stand to be dialed down a little bit in the mix. They're a little piercing in places. (The higher frequency ranges are kind of like hot pepper - a little goes a long way.)
While I think the mastering needs some reworking, I hear a ton of potential here.
You wouldn't happen to have the separated tracks for this song, per chance? It's the sort of thing I'd love to tinker with. (I couldn't guarantee it would still sound like a rock track when I was finished, though.)
After much deliberation with the voices in my head, I've decided that I like this stuff.
The genre-splicing going on here creates some interesting results.
I'm still trying to decide whether I like it or not, but it definitely gets your attention.
It sounds like as if Bob Marley were to collaborate with the Future Sounds Of London on the soundtrack for a sci-fi/horror movie..
This sounds like a Nintendo console trying really hard to console somebody who had a bad day.
I like it - it's very relaxing, but with a lo-fi sort of twist.
Written, recorded, and mixed in 24 hours. August 01-02, 2009, from 6am to 6am.
Instrumentation: Two acoustic guitars, electric guitar (picked and bowed), fretless bass, about 7 different flutes, two tabla drums, rattles, tambourine, didgeridoo…
I wrote Dancing Vampires while reading the book "The Historian", which is a story of a man and his accomplices’ quest to find Dracula in present day Europe. I love history and all of its grit. This song speaks of primal human instincts. We are…
This is interesting -- I'm hearing a mixture of influences here. A little Blue Oyster Cult mixed with some alternative rock from the 90s.
Vocals sound somewhere between Lenny Kravitz and the singer from Monster Magnet.
Comments on AMUC's stuff
Love this tune....
Love those strings, very atmospheric.
Love this one.
Fab track and great name.
Hilarious! Don't know why you're so down on your album; it's really good.
wacky, dizzy, cool music. Love the strange echoey bent distortion of the vox samples.
Very eclectic track. Delightful!
Interesting and really cool sounding vocals
woah! This is different! I like it a lot. Especially at the first minute.
bravo!!!
nice work on this one, got more? Can't wait.
very interesting. completely bonkers.. but interesting all the same!
Comments made by AMUC
There's something oddly meditative about this.
This album is pretty good - lyrically, it's top-notch. The mix may need a little-tweaking, particularly the vocals -- they may need to drawn out a bit more.
Heck yeah! I like uplifting songs like this. (maniacal laugh)
This is really catchy - I like the subtle use of vocoding you throw in there..
Okay - this is catchy. I love it when voices unexpectedly suckerpunch you from either the left or right channel.
I like the enigmatic melodies you're using here.
This mini-album is nice - it's the sort of thing I would listen to while drifting off to sleep.
This soundscape feels like it's drilling its way into your head. The left-right separations do weird things to the brain.
I like how this one starts off sort of unstructured, and then gradually builds from there. It has kind of a New Age-Chinese/Jazz hybrid vibe to it.
Very solid 24 hour challenge album.. There's some serious genre-channel surfing going on here, but you can still sit and listen to it seamlessly from beginning to end.
Very calming, but also unsettling at the same time. It has a very sad vibe to it.
This is very moshable. =) Okay, all kidding aside - I like how it develops around the fifty second mark, as the instrumentation kicks in. The vocals could probably stand to be dialed down a little bit in the mix. They're a little piercing in places. (The higher frequency ranges are kind of like hot pepper - a little goes a long way.)
Interesting - it sounds like a lounge jazz band of the damned. Really creepy atmosphere to it..
While I think the mastering needs some reworking, I hear a ton of potential here. You wouldn't happen to have the separated tracks for this song, per chance? It's the sort of thing I'd love to tinker with. (I couldn't guarantee it would still sound like a rock track when I was finished, though.)
After much deliberation with the voices in my head, I've decided that I like this stuff. The genre-splicing going on here creates some interesting results.
I'm still trying to decide whether I like it or not, but it definitely gets your attention. It sounds like as if Bob Marley were to collaborate with the Future Sounds Of London on the soundtrack for a sci-fi/horror movie..
This sounds like a Nintendo console trying really hard to console somebody who had a bad day. I like it - it's very relaxing, but with a lo-fi sort of twist.
Damn. You guys keep raising the bar for these 24 hour challenges. =)
This is interesting -- I'm hearing a mixture of influences here. A little Blue Oyster Cult mixed with some alternative rock from the 90s. Vocals sound somewhere between Lenny Kravitz and the singer from Monster Magnet.
This reminds me of The Gathering at their most mellow, albeit a little more electronicky.