Nur Ein IV Round Zero "Sleep Tight"

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Re: Nur Ein IV: Round Zero

Post by frankie big face »

Erin, it's the parallel vocal harmony and the rhythm of the three-note melody. You could have avoided the comparison by changing one or the other, but in this combination, no chance.
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Re: Nur Ein IV: Round Zero

Post by Niveous »

Niveous’ “Sleep Tight” reviews.

Ah, another Nur Ein has begun and with it comes another set of challengers, ready to face the seven round beast. I’m looking forward to the battle as it is a very interesting line up of competitors and from the sounds of the Round Zero battle, they all got the memo to bring their good stuff to the Nur Ein. But in the words of Die So Fluid, not everyone gets the belt. 25 will compete, 24 will fall.

John Kloberdanz is a new one to me. I had seen his name around but I hadn’t placed name to tune and if I had before, it hadn’t been anything memorable. This year’s competition is without guys like Jim Tyrrell and King Arthur. Kloberdanz’s sound in some ways fills that void. I can foresee better stuff down the line from him. This one felt like it lacked conviction. I know I may get comments that it was purposeful the mixing of the laid back sound with the boogeyman lyrics (It‘s like Jimmy Buffett working with She Wants Revenge). But for me, if you’re singing “Don’t look out the window or you’ll surely be scared”, you can’t sing it with out some emotional delivery. I just really felt that the sound and lyrics failed to meld well. Either it should’ve went scary along the lyrics or straight up b-movie campy. Instead it went down the middle of the road and didn’t connect with me on either level.

Full disclosure for those who don’t already know is that I have written songs for Billy’s Little Trip before and that may in some way endear me to his style already. It’s not like with John K where I’m coming in fresh. And it’s not like with Jon Eric who I know their music very well. This is immersion level. I’ve help make this before. That may be a benefit or a detriment to BLT. But don’t worry folks, that isn’t going to meet that he automatically gets good votes. A song is a song with me and I don’t give a crap who makes it. LEF could return tomorrow and churn out “Kashmir” and he’d get praised. It’s all about the song.

I enjoyed BLT’s song a lot. One thing I liked was the use of the whistling. Some people used it in a way that made it stand out like a sore thumb. No one said it had to be a whistle solo. No one said you had to make “Patience”. BLT blended the whistling into the chorus. He used it as another instrument. It felt almost theremin-like within the mix. Add in some lyrics about vampires, cool Lost Boy types not sparkly Twilight types, and he made a very successful tune.

Chopped Liver Meat God aka Lord of Oats’ musical style boggles my mind. You are always going to get something different each time. This is different from last year’s Nur Ein stuff and even more of a departure from his CLMG stuff in last year’s short-lived Purple Reign. I like that he put effects on the whistling. That was a genius stroke. It was clearly still whistling but he twisted it into something else entirely. Too bad the impact of it was killed by this pause right after that section. It might as well have been a Clearwater pause (it’s Clearwater, right?). Any way you slice it, it killed off any momentum. Musically, this is Nine Inch Nails. This is Oats found Trent Reznor and hid him in his basement and forced him to make beats. The result is NIN lite but Oats doesn’t have the vocal delivery to pull it off. Where Trent’s voice is smooth and dirty, this is screechy and punk. It doesn’t mesh well. The “I cannot do this anymore” style parts work well. The contrasting parts don’t. So through the beginning section I was 50/50 on the song. The whistling had me at 75/25 positive and then it drops into that momentum killing pause at 2:48. If the song would’ve ended there, I may have been okay. But it went on and lost me.

I was pleasantly surprised to see Jon Eric in this year’s Nur Ein line-up. As one of Jon’s old running buddies from back in the DCM days, I know that Jon can pull out some great music in these time restriction challenges. After writing a dissertation on Oats’ tune, it feels weird to hit Jon Eric’s song and the initial impulse is to say “It’s good” and then walk away. It’s not a knock-em dead, hit single by any means but it isn’t a sleep inducing lullaby or a crash and burn fail either. It’s just good. Jon has a great grasp of what sounds to put together. That riff that runs through the song is catchy and he puts those multi-tracked vocals over it and it definitely pays off. I could do with a better use of the whistling but there’s more pluses than minuses here. It’s just classic good song making. Catchy chorus, harmonies and melding it all together well. There’s no experimentation or risk-taking. It’s a line drive. Good song.

When I hear the WreckdoM song, all I think is SWAGGER. There is a lot of attitude in this song, in the delivery, in the way this is played. This song is just so bad-ass. The whistling blends in and doesn’t stick out like a sore thumb. There is a lot of lyrical goodness as I can picture the whole scene and its disturbing. I love when you got the place where others won’t go. Sleep Tight in my eyes is a title that calls for a lullabies. Instead WreckdoM brought some horror aspects with this twisted story of this person chloroforming people and stealing their teeth. And it’s not overdone with camp. This could’ve easily ended up in Turbonegro territory where it’s so much of a farce that you can’t any of it seriously. They avoided that and made a great song that is going to get a lot of listens.

Time for more full disclosure. Tiny Robots, I have written songs for. Well not for Tiny Robots but for bands like Zinkline and Merisan which includes the members of Tiny Robots. But since I have never written anything for them a trio, I find this all exciting and new. As for the song, Erin’s vocals are phenomenal. I know that female vocalists are often put on a higher pedestal but Erin deserves that spot. Having a pretty voice is one thing but to hit all the right notes at the right times is another and she has that. The whistle solo in this feels awfully tacked on. Other parts are spot on like the keyboards. The mix of Erin’s vocals and the keyboards is probably the reason why I liked this song so much. It’s all composed very well, except for the damn whistling. If they could’ve put the whistling into the already well-layered mix and just put a guitar solo there, it would’ve been far better. Nevertheless, this is a wonderful tune and one of the best in the fight. This song has a lot of replay value, which is very important.

Test Week Hiatus. Okay I think this has to be said before I go on. TWH, you are probably going to have the hardest time with me. Despite the fact that we both make acoustic guitar tunes, I have a short list of Weakest Suit songs that I have enjoyed in the past. But that’s the wonder of the Nur Ein, he can bring his A-Game and show me something special. It may be a hard road to tow but I wanna give TWH every chance I can. The delivery in the vocals are probably what irk me the most on this song. With such a sparse arrangement, everything needs to be tight. The chorus is okay but not very catchy. The vocals have quite a few notes that either fall flat or are just out of his range. I’m undecided on the lyrics. Some listens I think they are okay and others I hear lines like the ones about the crown of thorns and I’m turned off. Not the worst song in the fight but a long way from the win. If TWH tightens up those vox and lyrics and I’m sure the results will improve.

Starting a song like an alarm clock is not endearing. Adam Adamant does just that. Somehow I continued to listen. The whistling is a bit more distracting than enjoyable. There’s something about the delivery on this that I like. I’m not talking about the emotion as he plays it deadpan as if he was part of a Bauhaus cover band. There’s something to the rhythm of his delivery. It’s staccato at the beginning, but as the song goes on, it fits more and more. This song is all about the build. You get to about 1:45 and the drums are already revved up and the smoother vocals are going and you are on the runway. By 2:40, it’s all about the big sounds. Then it had to end with the damn alarm again. Ugh. There’s some potential here. It’s not all achieved but it’s there. It’s peeking out like a groundhog.

G&R. They took the bait. We gave the title Sleep Tight and they went all guns blazing into the lullaby. The whistling plays along with the dreaminess of the song. Add in some vocal harmonies drenched in 1960’s (or 90’s Jellyfish) and I’m asleep. I can’t hate on this despite the fact that this song is a bottle of chloroform. It is what it is. It’s a lullaby. It’s done right. If my kids were still babies, I’d have this on loop. Knockout. Sleeping through the night. Wisely, they kept it short, which is not only a blessing in a field and I didn’t lose interest which is easy to do with a lullaby.

Cock gets high points for using the word vicissitude. This is probably the most catchy song in this round. I grew up on New Wave and this song fits right into the niche. The whistling was interesting. In the midst of all the synthesized sound, I almost didn’t realize that it was a whistle. That is a very good thing. Whistling can be very bad if it takes you out of the flow of the song. Here, it became just another element of the whole. It’s very nicely done. This is an exceptional song for under 2 minutes. During my first few listens, I could’ve sworn it was longer but that’s because it’s so catchy and there’s so much going on in such a short span. I think Cock could have a good run in this year’s Nur Ein as long as they don’t fall into bad Casiocore.

Signboy’s song hit in some places and missed it some places. The vocals are 50/50. There are some points where they are definitely on point, like the chorus. The chorus is done very well, even if I’m not a fan of the yeah-yeah-yeah. But hey if AFI could make a career of chant-along choruses, why not Signboy. But there are points in the verses where it’s a little pitchy. The piano adds a lot of atmosphere to the song. But the song feels like it’s missing something. Perhaps some sort of bridge or solo. Having the last thirty seconds of song as nothing but “In the next life” can be grating. There needs to be something else to break up the monotony. I think if there was a bridge or solo followed by the chorus instead of just the repetition, it would be a better song. Still, it does have its good points that outweigh the bad.

Nouveau Pauvre, the new poor. There is nothing poor about this song. This is a solid song and probably my favorite song from her. She’s a bassist and I feel like this is the first time that she just let that bass talent shine. It drives this song and then it’s so nicely accentuated. The result is some seriously cool triphop. I feel like it’s late at night on a Sunday in the mid 90’s and Morcheeba just came on 120 Minutes. Though the vocals are very very Moloko. A Nouveau Pauvre cover of “Fun for Me” would be awesome. The soundscaping on this song is wonderful especially the end. The only flaw is that the lyrics are a bit thin. It’s all about that chorus which is wicked but the verses are forgettable.

My wife walked into the room when I was listening to the Tex Beaumont song and she looked at me with some measure of confusion and said “You listen to much mellower stuff than I do”. I included that anecdote because she’s right. The song is very mellow. Anyone reading this, here’s an experiment. Listen to the song and then think of Wilson Phillips. The arrangement cries out soft pop. It’s one of the reasons I can’t wrap myself around this song. But that’s just genre bias (Where are all the hard rock songs in this fight. I wanna headbang to the Nur Ein! Make it happen someone. Not necessary Tex. But someone). It’s an okay lullaby type tune. The song may be a lullaby but it is way too repetitious. By the time we arrive at the most interesting bridge, I have already lost all interest. There are just too many strikes here to may this lullaby pay off.

Here is some the rock that I need. Rabid Garfunkel brought some rock. But there is a lot of campiness in this song that is hurting this song for me. For instance: “There’s a wolf. There’s a wolf. THERE’S A WOLF”. If I went to a concert and heard that, I would laugh once and then I would disengaged, which is a shame because after the guitar solo, the verse is much more engaging. The song needs some balance. It needs to either be all silly or all serious and less guitar wank. The song is full of some guitar masturbation. It’s not very melodic or anything. It’s just guitar noise. This song just needs to find some balance.

There is just something in Swilington’s production that makes it hard for me to listen to it. It’s as if the whole thing was done in a cave. The vocals are distant and the guitars are booming and reverberating. There is this wall of sound in my ears and not in a pleasant My Bloody Valentine way. By the time we get to :51, the vocals (which weren’t my favorite part of this anyway) are lost and it’s a sea of sound that is just way too much to enjoy. Then add in the whistling and then more gets added in and more and I’m thankful that it’s only a two minute song as it is seriously like I was musically drowning. There is potential here. Good ideas but bad execution. I hate lowering anyone’s score due to the production or mix, especially since it is my personal weakness, but I can’t get around the fact that this song makes my head hurt.

MC Eric B….the long shot in the Nur Ein. Last year, he started at the bottom and this year, he starts at the bottom. Is there a chance for him? I’m giving everyone a chance to impress me. This song failed because he went the lullaby route but it accentuates his greatest flaw. MC Eric B does not have a great voice. He went for the sparsest arrangement possible which only draws more attention to the weak vocals. MC Eric B needs to learn how to accentuate the positives and hide the negatives. I think that he needs to find some people and start a band. I don’t know if he can play an instrument. Maybe he can learn but he should take a step back from the lead. Accentuate the positives. He’s a decent lyricist. I’m not saying he’s Burt Bacharach by any stretch of the imagination but he’s decent. Sleep Tight isn’t the greatest example but I know he can. He should team up with some who can sing and put some emotion behind his words. Add in some others who can build up the arrangement and presto, he’s in the hunt. Round 3 is traditionally the “guest star” round and if he makes it that far. I think it could be interesting.

Student Band didn’t wow me but didn’t disgust me. On the pro-side of the column is the singer. He has some decent chops. I think that in a song with some more bite to it, he could really deliver the goods. This song is way too tame and middle of the road. I guess that part would fall under cons. Back to the pros, I like the bass work. Once it kicks in on the second verse, it does a lot for the mix. This band has some skills. Notice the sweet drum fills on this. But it just never goes for it. I want some energy. I’ve seen the band pic and there’s so much energy there and I want that on wax. Even at the end where it rocks out a little more, the vocals still have the same middle-of-the-road delivery. It’s good but without the gutso, it’s not a standout. And again, the whistle solo. Putting the whistling into the mix works. Whistle solo does not.

Todd McHatton’s song has these keys that give me the same feeling that I got during the Swilington song. But the big difference is the vocals still stand out. It’s a life preserver when you are drowning in the sound. And the multitracking choral voices is a nice choice. Whistle solo, not as much of a good choice, especially in the sea of keys. There is potential here. A little less of the keys and I’m there, I’m listening. There are some nice lyrical choices and a nice 70’s vibe (I hate to say this but the vocal harmonies are almost Bee Gees-esque) but there is too much of the keys and the whistling is just bad. It didn’t add to the song, it was like he was listening to his song and decided to whistle along.

Wow, I’m on page 4 of my reviews. Holy crap.

“Sleep Tight while you can” is the theme of Ross Durand’s entry and there are some good lyrical choices here. The traditional lullaby being sampled throughout feels kind of extraneous. I think this song could scored without it. This is also another song with the whistle solo. It’s not as bad as some of the other whistle solos though. But at the end of it, there’s that lullaby sample. The lullaby sample just takes me out of the whole song. Not to say that I disliked the song. Far from it. Those are his only peccadilloes. I really like his bridge, especially the ‘shiver to keep from weeping’ stuff. The lyrics are strong, the vocals are well done, and the instrumentation is spot on. It’s a great song and one of my faves from this round.

If you listen to the Zinkline album “Zugzwang” which I wrote a lot of, you’d find a song called “Stolen Away” where Sam (also of Tiny Robots) does a solo take on the theme of a man about to venture off into the Bermuda Triangle to save the lost. It’s a powerful song and Sheail’s “Sleep Tight” gives me the same feelings. It’s a good simple arrangement that allows for the vocals to shine, and they certainly do, and the story to come out. The biggest flaw, can you guess? Whistle solo. But he does make it up with a nifty little guitar solo. This song is solid all around. No real complaints here. Keep up the good work, Sheail.

That is some unpleasant whistling at the beginning of the Frankie Big Face song as if someone was whistling but didn’t really know how. It got much better later on, but still sometimes the sloppiness of the whistle was a bit distracting. At least at the end it was done right. So it scored when it counted the most. The instrumentation on this is top notch. Frankie knows how to build a song. Great guitar and bass on this. The bass is the unsung hero of this song. Listen close at the start of the verses, right after that first line. That’s good stuff. This song isn’t going to set the world on fire. It really doesn’t have a chorus, it’s just repetitious but it’s a good song nonetheless.

The judges bone of contention this round seems to be Paco del Stinko. I know at least one judge was “blown away”. I’m not that judge. From the get-go, there’s a lot going on with the piano and drums and some scattered guitars and the vocals are really lost in the mix. Then it goes into the whistling and it’s really really too early for the whistle solo. Whistle solo in the first minute after the cluttered opening to the song, I had already lost interest. Then there was the multi-tracked “Good Night” which stuck out like a sore thumb. There’s nothing in this song that’s hooking me. I think that’s the problem. I have listened to this song I bunch of times and it’s not memorable. There’s two whistle solos and there’s a lot going on but in the end, it doesn’t pull me in. I think it’s because I’m having such a hard time deciphering the vocals in the mix and the fact that there’s no chorus.

Two more reviews to go. Wow.
Nigel Clements, aka sp00n. This is an okay song. I think what holds this back is the vocals. Not that they are bad, it’s just that there’s not enough delivery to them. They remind me of Devo but the secret to Devo is that they could talk-sing through their songs but did it with such energy and feeling behind it that it scored every time. There isn’t really much else negative for the song. There isn’t much else positive either. Don’t think it’s because this is review 24 of 25. This review has taken me several days to do, so I’m still pretty fresh. It’s just that this song falls in the middle of the road. Without some passion or energy, it’s robotic and if Nigel’s doing the vocals, I want some delivery. Save the robotic delivery for Cynthia. When he’s talking about “Girl I’ve had enough”, it’s with the same delivery as every other line in the song. If there was some delivery here, the things he says would resonate better. It’s a decent song.

And the last one, but not the least, Howl Down the Chimney. It’s a nice play on the lullaby. Musically it’s got the sleep-inducing tones but it’s the vocal delivery that makes it dark and ominous. It’s just hard to be ominous during a whistle solo. It just didn’t fit. And boy did that song feel short. One second it was here and the next, it was gone. There’s a lot of atmosphere but not a lot of song. What’s there is good but I feel like it’s too short to be effective, especially when a large chunk is occupied by whistle.

Woo Hoo. I finished the reviews...and now onto "Bullets and Lovers".
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Re: Nur Ein IV: Round Zero

Post by ujnhunter »

Thanks Niv, great reviews.
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Re: Nur Ein IV: Round Zero

Post by The Weakest Suit »

Niveous wrote:Test Week Hiatus. Okay I think this has to be said before I go on. TWH, you are probably going to have the hardest time with me. Despite the fact that we both make acoustic guitar tunes, I have a short list of Weakest Suit songs that I have enjoyed in the past. But that’s the wonder of the Nur Ein, he can bring his A-Game and show me something special. It may be a hard road to tow but I wanna give TWH every chance I can. The delivery in the vocals are probably what irk me the most on this song. With such a sparse arrangement, everything needs to be tight. The chorus is okay but not very catchy. The vocals have quite a few notes that either fall flat or are just out of his range. I’m undecided on the lyrics. Some listens I think they are okay and others I hear lines like the ones about the crown of thorns and I’m turned off. Not the worst song in the fight but a long way from the win. If TWH tightens up those vox and lyrics and I’m sure the results will improve.
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Re: Nur Ein IV: Round Zero

Post by MC Eric B »

Niveous - I very much appreciate your detailed reveiws. Much more in-depth and insightful than most Songfight reviews.
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Re: Nur Ein IV: Round Zero

Post by JonPorobil »

Niveous wrote:(it’s Clearwater, right?).
Clearmountain.

Thanks for the in-depth reviews, Niveous.

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Re: Nur Ein IV: Round Zero

Post by Ross »

niv wrote:He’s a decent lyricist. I’m not saying he’s Burt Bacharach
Or Hal David?
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Re: Nur Ein IV: Round Zero

Post by Billy's Little Trip »

Niveous wrote:BLT blended the whistling into the chorus. He used it as another instrument
You are exactly right. I was trying to whistle what I would do with a guitar if I was trying to grab the melody line. I feel I didn't mix the whistling very good which make it bug me. I now know that whistling really stands out in a track and should be treated the as such in the mix.
Thanks for making me feel less bad about my whistling part, Niv. :wink:
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Re: Nur Ein IV: Round Zero

Post by Niveous »

Ross wrote:
niv wrote:He’s a decent lyricist. I’m not saying he’s Burt Bacharach
Or Hal David?
Yes, you are right. I meant Hal David. David wrote the lyrics. Bacharach wrote the music. Though Bacharach was a pretty good lyricist in his own right on the rare occasion.
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Re: Nur Ein IV: Round Zero

Post by Paco Del Stinko »

Thanks for the insight, Niveous. I figured it was either you or Pedro that ranked it near the bottom. Not a favorite song of mine either, I gots to say.
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Re: Nur Ein IV: Round Zero

Post by Henrietta »

I thought your whistling was great, Chris.

Also, a whole week later and I still have Jon Eric's Sleep Tight running through my head. That chorus has mad staying power! Tiny Robots has also been a constant & pleasant earworm. :)
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Re: Nur Ein IV: Round Zero

Post by JonPorobil »

Henrietta wrote:I thought your whistling was great, Chris.

Also, a whole week later and I still have Jon Eric's Sleep Tight running through my head. That chorus has mad staying power! Tiny Robots has also been a constant & pleasant earworm. :)
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Re: Nur Ein IV: Round Zero

Post by Reist »

Niveous wrote:Great reviews
Uh, forgive me if I'm wrong, niv ... but is my tune reviewed in there? I read through a few times just to double check, but I couldn't find your review for my song. Great insight though - and thanks for putting in the time for this.
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Re: Nur Ein IV: Round Zero

Post by Niveous »

Reïst wrote:
Niveous wrote:Great reviews
Uh, forgive me if I'm wrong, niv ... but is my tune reviewed in there? I read through a few times just to double check, but I couldn't find your review for my song. Great insight though - and thanks for putting in the time for this.
Holy crap...I wrote all that and still missed a song! I'll give you a review soon.
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Re: Nur Ein IV: Round Zero

Post by Billy's Little Trip »

Henrietta wrote:I thought your whistling was great, Chris.
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frankie big face
Ice Cream Man
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Re: Nur Ein IV: Round Zero

Post by frankie big face »

Just now getting around to these songs and, even with a slight genre bias, I can confidently say that BLT's song is awesome.
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Billy's Little Trip
Odie
Posts: 12090
Joined: Mon Nov 13, 2006 2:56 pm
Instruments: Guitar, Bass, Vocals, Drums, Skin Flute
Recording Method: analog to digital via Presonus FireBox, Cubase and a porn machine
Submitting as: Billy's Little Trip, Billy and the Psychotics
Location: Cali fucking ornia

Re: Nur Ein IV: Round Zero

Post by Billy's Little Trip »

frankie big face wrote:Just now getting around to these songs and, even with a slight genre bias, I can confidently say that BLT's song is awesome.
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