Before listening to these songs I decided to apply a set of arbitrary criteria upon which to judge them, just to make things interesting. These are:
1) Sonically it should have some element of liquidy, twinkly or shiny sounds.
2) Minus points for phrases to the effect of "she/he is like liquid starshine", unless this is qualified in some way with an appropriate metaphor.
3) The optional challenge will be considered, but no extra kudos given if it's not done well.
With hindsight I wonder if I should have added a caveat similar to #2 about drugs references, but I didn't so I won't penalise anyone for it as a matter of course.
Cthauhaus: First off, good name. Lyrics ain't bad but you've fallen at the first two arbitrary hurdles I've set (see above). Plenty of description about the subject, none seem to allude to why she's liquid. Sonically, about as untwinkly and unliquidy as it gets. Good bass sound, solid minimalism. The oohs are a bit wobbly and nudge this into potential comedy territory, though the outro sounds quite cool.
Don Mattingly's Moustache: The "several other guys" line is funny, but unfortunately the chorus triggers abritrary criteria #2 as there is no explanation as to why this girl's love is liquid, starry, or shiny. It's also devoid of twinkly or watery sounds. I spent this whole weekend listening to an "oldies" mix cd (The Platters, Paul Anka, etc.) and their lyrics are full of stuff like this, "I love this girl, but she's banging loads of other guys and she doesn't even like me, but I won't stop loving her cos I'm a desperate weasel", I'd never noticed before how many lyrics are focused on toxic situations like this. You've approached it in a more tongue-in-cheek way though, and the recording is solid. +5 points for the whistling solo. Also, why shouldn't the subject have so many guys?
Glenn Case: The first time I heard this it seemed like another 90s indie plodder, but on subsequent closer listens it's much more than that. The keys and squelching bass complement the shreddy guitar nicely. The drums switch up nicely between sections and the strung-out feel of the music matches the lyrical theme really well. Nice subtle use of harmonies as well. I'm edging towards the vote button.
Glennny: This is an entertaining jaunt through doo-wop territory. The arrangement is comical, but you pull it off pretty well and I commend your commitment to the style. This would've been good in The New Ugly Nur Ein round. Some of the lyrics seem a bit crowbarred in but mostly the work, except I don't get "greenback of Grant". You have skillfully evaded abitrary criteria #2, and I'm willing to overlook arbitrary criteria #1 on the basis that this kept me entertained. The guitar solo was even quite good. Nice job.
Hoblit: This isn't badly done, or badly written. I find it hard to say anything about it. The subject and arrangement left me a little uninspired, though I suppose it's fairly jaunty.
Hot Pink Halo: Regarding my criteria at the top this is miles ahead of most other entries. Super twinkly and a subject that nobody else touched on. On this basis I think it's worth a vote. There's still a bit of refinement needed in the execution/recordinng, etc. but overall this is really nice.
Jerkatorium: Another one in the drink camp. Although the arrangement is sadly lacking in watery sounds, the honky tonk piano adds a tiny bit of twinkle, and there's a guitar after the "permission to drink" line around 2.30 that sounds a bit like a distant stream train, I quite liked that. In conventional terms this is very professional, well written and excellently recorded. It kind of reminds me of Lonely Island's Great Day, but it lacks any of the darkness associated with substance abuse like that song does, and it's not as funny. I think I probably have some genre bias against it. It's obviously very good, probably a winner, but not really my thing.
Kyle Rogers: The guitar line in this is quite nice, some of the lyrics are good, in fact the overall feel is decent. There are too many things against it for me though. Firstly, the more enthusiastic your singing gets the more silly it seems. It's like you get more hammy when you sing louder or something. Secondly, the arrangement goes nowhere and for a song that's 4 and a half minutes long it gets boring.
Miscellaneous Owl: Some quality Superchunk-esque rocking here. It fails at arbitrary criteria #1 but it sounds cool so I don't mind too much, and I dig the mellotron solo (it's an easy way to my heart). For catchy tunes and sheer rockingness this is worth a vote. Plus points for not going anywhere near arbitrary criteria #2 (or drink/drugs).
Paco: Good value, as usual, but for the most part the first half completely fails to stick in my head no matter how many times I listen to it, and in spite of some nice little backing vocal and guitar touches. Nice arranging but the song just isn't that strong. The second half is much more arresting by comparison. The creepy bit is super creepy, but I particularly like the swirling sounds and the way the momentum builds up to the finale. The "swim in it..." section could easily do with a few more reps to let the listener groove to it a bit longer. That part is much catchier than anything before the breakdown and should be given more prominence. Flawed but much to applaud.
Phillipso: Supremely garagey sounds, although the technical skill here exceeds that of the average garage band I feel that it doesn't quite transcend it's trappings. The chorus melody is nearly great but it's missing just the right note somewhere. The middle section is fun in a shambolic way, when it cuts back to the chorus it sounds a bit like an edit/cut and paste job. The guitar sound is cool and the addition of the organ is nice. It's the kind of thing I'd like to return to once every few years rather than listen to every day.
Phlebia: This may not be a drug song, but if it was this is by far the best. The bleak sound is a good complement for the the lyrical matter, and the rhythm keeps the heart of this track pounding along at a satisfying rate. The filthy, swirling synths and rumbly, doom-laden bass give a really great atmosphere. I also love how the drum roll at 1.27 morphs seamlessly into the beat for the next section. My one problem was the hi-hat hits are too loud.
Pigfarmer Jr: Another drug song, this time in the Evan Dando mould (I guess, that's how I heard it anyway). It's not really a fair comparison but while this is competent enough, it's not in the same league as "If I could talk I'd tell you" let alone "Paid to Smile". As it is it's a bit too country for me, and the skunk line in particular is cringy.
Third Cat: Really cool swells of noise sweeping through this, and the twinkly guitar is pleasant. I like that high-pitched synth that comes in, very reminiscent of the Sophtware Slump. The disco beat is an interesting choice, but not one I will complain about.
Tim Hinkle: A drug song of the milder variety. Remove the references to chemicals and you could probably sell this one to Yusuf Islam, or Donovan even. It's a pleasant enough slice of 60s folk psychedlia.
Tron Air: I award myself 10/10 for liquidy twinkliness.
Vom Vorton: Some great lines in this. My favourites are "back to sleep for more dystopian dreaming" and "bludgeon our consciences into unconsciousness". The minimalist synthery works really well with the subject matter and I like the angle compared to a lot of the other drinking songs here, for this reason I will forego my desire for twinkles on this occasion. There are a couple of moments when there a few too many syllables to scan properly, and also the harmonies are not quite there, as such the chorus is a touch challenging. Overall I enjoyed it though.
Æpplês&vØdkã wrote: ↑Fri Sep 13, 2019 7:06 pm
Tron Air: Maybe it reminds me TOO strongly of Animal Collective?
It's funny cos I do own a copy of Merriweather Post Pavilion and My Girls is a great tune, but they didn't even cross my mind when making this track. Their sound must just be that deeply etched into my subconscious.