@barysaw: "All the world rejoiced in them."
@pissinggraffiti: I agree with the muddled part here. Darkness? You have a very delicate sensitivity sir! Perhaps a more melodic line would fix this? What does "wonder" sound like? The ocean? The wind? The night sky?
@pissinggraffiti: That lovers dream song... the electric guitar got me thinking. Kiffy suggested another acoustic guitar part. A harmony perhaps, maybe could be something with a minor.. Maybe that could come in the beginning during the clapping/alternative percussion part before the main acoustic guitar part comes in.
@pissinggraffiti: I believe this looped section is going to carry to this track from the ending of another track we're working on. I think as it is - it might get in the way of the song starting.. altering frequencies on the beat sounds weird. I'd really need to hear it. Do you have an example of this? Is there a way to do it that would sound organic?
@pissinggraffiti: I really like the idea of a spoken sample here. I'm going to look in my archives....... Maybe it could be a recurring things through the long "f chord" phases.
@pissinggraffiti: Will think on this.
@pissinggraffiti: Haha, when I saw Iron and Wine at Bonnaroo I thought they were fantastic! Was a bit jammy too. Thankyou for ideas and thinks!
feels very jammy. my first image was the sort of less than inspirational iron and wine bonnaroo experience. again, I do like this track and hope all these things don't come off as a big list of suck. because it's not. just ideas and thinks.
@pissinggraffiti: http://open.spotify.com/track/7dNR3keIAiMJhwycS2xAbx - THATS is a great ending. also a waltz :D
you said the pedal steel was desired to be more intense. So In my head you want this part to be real intense. It doesn't come off that way, especially with that dist bass/snare roll to introduce it. I think the pedal steel shouldn't be the driving intensity. Def electric gtr. solo? maybe can work. Maybe not so flashy and more aggro though? again I draw upon st. vincent because she's insanely awesome at this tuff.
"THE whole world" yea? I think you're very precise with your enunciation, but some times "the" sticks out a bit in the your delivery. I can't give a solution, but think about the chorus and it's smoothness. I can give way to intentional abrupt vocal delivery, but I think this might be unnoticed? The rhythm of it is a bit strange when first listening as well. after a few dozen time its a bit less noticeable, but... well first impressions do be important
@pissinggraffiti: http://www.youtube.com/watch?v=l37wrZ2V1Gk - the counting :D do you know these guys? the whole album is unbeleivably good
thoughts of you reading, in a somewhat natural voice, a poem or a newspaper clipiing? Again I'm a bit struggliing with the overall point of song - I'm real terrible with that stuff =( but maybe a running theme for those extended "f chord" sections. kinid of like this sleeptytime gorrilla museum track
@pissinggraffiti: thoughts on a distorted version of you way in the background screaming about insectiside?
i really like those pedal steel parts that sound like whales moaning. i think that's where the pedal steel shines in this song
@pissinggraffiti: also - vox harmonies could maybe play around here? or after the next "f chord" that extended.
MOAR VOXES! the doubling is PERFECT imo and should be kept the focus but play with background stuff
bass sound is good distortion wise but it's 'mixing is a bit wonky
man i love that buzz kazoo or whatever thing in the background. a LOT.
this tom stuff
i go back and fourth about the drums here. I think regardless having an acoustic set is win. He does a pretty good job here. it's the tom stuff later I am sure feels weird.
i think, if there were sticks in the beginning, here is where you should add another texture as well as some bass ideas. the waltz ideas I was talking about. I picture very elegant russian balls a few centures ago with the burgoise were in full decadense swaying around. bum-cha-cha bum-cha-cha. but sort of that mary poppiins delivery (you remember the guy that had the bass drum on his back?) Could also do the opposite and stress the downbeat to make it feel a tad less rushed? The tempo is a bit high for waltz? dunno, thinks.
another idea to bring in gtr. but seems too easy? maybe bring in the pedal steel here. he does a good job with some accents. might be really cool to have a theremin. he allready kind of sounds like one and it would help distinguish?
@pissinggraffiti: http://www.youtube.com/watch?v=AZW9NYX6JZA - the funky dist gtr wonks that jump in here
@pissinggraffiti: http://open.spotify.com/track/37XhtCPhIWL0nnewZVj0wS a track I think of when listening to your song and makes me wonder what your thoughts about workinig in minor for verses. Or doing minor shifts. Orrrr...I don't know. that's songwriting stuff though and seperate to these notes.
dist bass could say something here. a distorted interlude ala st. vincent
@pissinggraffiti: another thought I had was if you were to bring in the bass earlier too. if you just had the sticks/perc stuff and your voice it would be nice to throw the dist bass in a certain points to accent vocals or when you move down to the F. it doesn't yet really hav a full part but just accent notes
if do stick/clap/play beginning with your bare vox you could bring gtr in here. maybe not on the downbeat but give some "chug chugs" on the strings or do something else. like play your vocal line on the guitar and hold the last note for a beat or two longer? dunno.
maybe hold off on the pedal steel coming in here? he sounds good coming in later. will mark
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