A parade, or a marathon?! (A Grand Parade reviews)

[frankie big face]

Sure although the songs have already been up for two solid weeks, which is several days longer than usual.

Yes, but there are about 20 times as many songs this time around so by that logic, the fight should stay up through August.

[rone rivendale]

Mommy, Daddy, stop fighting! *cries*

[frankie big face]

Frankie Big Face:
Welcome back fbf! I like this and then it gets really great when the ascending line comes in for the chorus (or refrain?! ). I like the extra stuff you've added in verse 2, great ear candy details. Really enjoy the change-up for the bridge, and fun chords and melodies and backups there. I dig the ending with the ascending riff coming back as the end. And of course good lyrics. VOTE!

Thank you for the kind words...and for keeping the fight up a little extra long.

[frankie big face]

Frankie Big Face – Frankie, Frankie, Frankie. I’ve always been a huge fan of about 98% of what you produce. Speaking of the previously-mentioned Album Fight, your version of “Red” was amazing, and I thought your “All the Way to Reno” topped the original. Having said that, on the incredibly rare occasion when you’ve missed the mark and something doesn’t resonate with me, it has spectacularly not resonated with me. Luckily, no need to worry about that happening with this song.

Hello mystery stranger and thank you for your (sort-of) review. I can just barely remember covering "All the Way to Reno" so I'm glad it is living on in your memory!

[frankie big face]

Frankie Big Face
Wow, this is gorgeous. Great voice, great melodies. I don’t even understand how you’re doing a lot of this. It’s not 1-4-5 or whatever, haha. The phrasing of the solo is really cool. Engaging listen. Would listen again.

Thank so much! "I don’t even understand how you’re doing a lot of this" made me LOL. Yeah, definitely not 1-4-5, but not too crazy. Just a half-diminished chord or two and some flat 7's. I really appreciate your comment about the guitar solo. I actually tried to do something more melodic instead of noodling so I appreciate that you noticed.

[frankie big face]

So - if this was Nur Ein and I was a judge - this is how I would rank them (from my favourite to least favourite):

Add
Vom Vorton
Future Boy
Frankie Big Face
Motley Cyrus
Abominomimominous
bgm
Sober
...everyone else....

Based on this list, I believe you would make a great judge. There are openings!

[frankie big face]

I've been writing reviews, but they're not very good. I may or may not post. So far, I've listened to the 35 songs by artists whose names I recognized the most. These are the six that earned my vote:

Sober
The hype is real. This is a tight little song. Fuck me. This is really touching, actually. VOTE

Lunkhead
Farfisa! (Farfisa?) You kind of sound like JB on this. Of course, with that intro, I was expecting Elvis Costello. I mean, I kind of love this. It reminds me of Fountains of Wayne. Excellent vocal polyphony! VOTE

Hell Yeahs
So much fun. Great to hear you again. Obvious VOTE.

Glenn Case
I would like this much more if it weren't distorting. Why such a hot mix? My mix is exceptionally quiet compared to a lot of what I'm hearing in this fight, but I just used the Mastering Assistant to see what would happen and that's where it put me. This mix is consistently in the red on my monitor. But I really like the understatedness of the song. VOTE

Tiny Robots
I enjoyed this song. Reminds of REM at times. Tasty guitar solo. Beautiful vocals. VOTE

Shark Tornado
This is good. Catchy and well-performed. Doesn't overstay its welcome. VOTE

[Pigfarmer Jr]

I don't know how you crank out songs like this, you and Glenn Case and Jonathan Mann etc.

Quantity over quality, I always say. I appreciate the compliment but I also realize that more time could be spent on most of my submissions so there's a balance I haven't struck yet.

Did you just start using some light autotune in your songs recently? I feel like your pitch in your vocals has been the best I've heard in all the songs in this fight.

I've been using "light" autotune (actually ReaTune) for years now but I do think my singing has been improving a little bit of late. I'm definitely trying to get better. Thanks for your kind words.

[reve]

Amazing, amazing SongFighters, I finally got through all these entries. You are all such fantastic and inspiring artists! I'd like to especially call out:
ADD,
Another Future,
Balance Lost,
Carol Cleveland,
The Chebuctones,
Cybronica et al,
Dr. Spectacular,
Explino,
Giraffes For Wings,
Heine,
Hostess Mostess,
Hot Pink Halo,
JBB,
Josh Woodward,
Less Three,
Lunkhead,
Melvin,
Miss Fancy Pants,
Motley Cyrus,
One Future of Music,
Paco, Pannacotta Pals,
Shark Tornado,
Shoehorn,
Swampy,
Thanks for the Frisbee,
Vom Vorton,
Worldly Self Assurance,
WreckdoM, and of course
the Yaks.


I was also sooooo happy to see some of the classic fighters return -- thank you so much for coming back and making this parade truly grand!

[HeuristicsInc]

another set. chug chug.

Madame Breathehard: this one ended rather abruptly? It’s interesting.

MC Frontalot w/ Baddd Spellah: pretty catchy. Not following too much of the lyrics. This is worth voting for

McHaggis: it’s ok, sorry

Melvin: i like that bass and drum when it comes in. the vocals are kinda trance-inducing. Good stuff. vote.

mico saudad: not that fond of the vocal cadences. It’s ok but not grabbing me

miscellaneous owl: the guitar gets all weird there then it gets better. Actually i really like this combo of guitar and vocal. .vote.

Miss Fancy Pants: very shakespearean, in accordance with the bandname.which patron saint is that?

Moody Vermin: evermind? Blast from the past. I love the brrrr sound. And the delay on the guitar. I dig it. Vote. oh even after i decided that, the change of mood in the solo caps it off in a great way. Zappaesque there.

Motley Cyrus: a very proper vocal. This one is kind of strange. Especially in the parade music parts.

Mr. B and Mr. C: this reminds me in the vocals of #. But not so much in the music. I like the backing vox, of course i know who that is.

mzmo: best part is the lead guitar. Nice delay.

Nodal Nim: everything is up high in an uncomfortable way. I feel like there was some hidden track here? Why the silence at the end?

[AJOwens]

I'm about halfway through a review marathon, at the end of which I'll vote if the fight's still up. ETA maybe 3 p.m. Atlantic time, I think that's still morning in CA.

[Lunkhead]

Fortunately for some I missed my chance to update things before life stuff took over for a couple days. So here's your final warning, I'm going to update the site later today, Pacific Time. If you care to vote please do it ASAP! Please consider going through whatever songs you haven't reviewed and picking out the ones you want to vote for and voting for them, and then going back and writing reviews for them later. I don't want to hold up everything for everybody much longer. Some folks I'm sure are clamoring to see their "I Need A Vacation" songs posted, some folks are clamoring for a new title, etc. If I hold things up for a couple people to vote/review, that means other people are going to start telling me to hurry up, so I need to keep things moving along.

[AJOwens]

It's 15:15 here and I have 13 songs to go. I will listen to them and vote, and then get back to the reviews. At a probable 3 minutes each I'm still looking at something like 40 minutes or so. I will let you know when I've voted. Sorry to be so late to this.

[AJOwens]

Fortunately for some I missed my chance to update things before life stuff took over for a couple days. So here's your final warning, I'm going to update the site later today, Pacific Time. If you care to vote please do it ASAP! Please consider going through whatever songs you haven't reviewed and picking out the ones you want to vote for and voting for them, and then going back and writing reviews for them later. I don't want to hold up everything for everybody much longer. Some folks I'm sure are clamoring to see their "I Need A Vacation" songs posted, some folks are clamoring for a new title, etc. If I hold things up for a couple people to vote/review, that means other people are going to start telling me to hurry up, so I need to keep things moving along.

I have voted!

[Ross]

I voted last night!

And I am in for "I need a vacation!"

[Jefff]

Argh. I tried to write reviews, but didn't have a lot more to say than "cool! good job" or "I can see how someone else would like this more than I do". Then I thought I'd do shoutouts, but that started to feel way too random. I do want y'all to know that I listened a lot. I think pretty much every song got a couple of listens. And it was rad. I've always been more of a song lover than a song fighter, so a big communal act like this is the best kind of thing we ever do on this site. Thanks to everyone for that experience.

For specifics, I'll keep it to: I love Starfinger's Remain in Light-inflected chaos, and I (always) love Future Boy's moral clarity, which merits more engagement than googling and pulling quotes from Wikipedia.

[Jefff]

Oh also I do appreciate that the Yaks song is addressed to me specifically.

[Henrietta]

Hello Songfighters! I’m happy I could be here again. Songfight is a place I always appreciated so much.

Thank you for the kind reviews. Ugh, I'm rustier than the Tin Man. Henrietta20 is me. Some of you might remember me from 15-20 year ago, submitting as Henrietta or Quimby.

This fight is packed with awesome tracks! I voted some votes. Reviews are taking longer. The cliffs notes version is "This stuff is great!"

[AJOwens]

I reviewed the songs in reverse alphabetical order, beginning with the Yaks, but I kept the default order of the review template, so when I use words like "another," it might not make immediate sense.

I appreciate a good lyric, but I find it hard to focus on lyrics when there's music to listen to. I may take a second pass sometime while referring to the lyric thread.

There are a lot of fine songs in this epic fight. Where I said I might vote, I mostly did.


Abjure!: The tone is shaped by the clear, accurate, well-enunciated singing, and the inevitably charming ukulele. The harmonies work fairly well, although with a slightly intermittent character, and the tone is intimate, familial, and happy.

Abominominous: Nice riffs in this dirty-guitar-driven number, communicating cynicism along with the snarky vocal delivery. It keeps going, and I don't get tired of it.

Add: A protest song, lingering on one chord for quite some time before arriving at the chorus, but the melody is not monotonous, so it works. I've noticed a tendency to bluntness, even crudeness, in several lyrics this fight. As an expression of anger, it begins to lose its effect; it's just something to get away with. The sharp wit is more fun, and this song also has that.

Agony Sauce: More Joe Jackson-y stuff, well done as ever. Very funky bass. It's a good song, lots of changes and surprises, no time for anyone to feel bored. Emotionally, I find this kind of thing unreadable; it just feels cool and jazzy, whatever the lyrics happen to be about. It is very well executed.

All The Robots: The lyrics caught my attention, and the Mediterranean styling, here emphasized with the obligatory accordion, is very appropriate to the subject matter. Good job, with some fine guitar, and worth a vote.

Another Future of Music: This is actually the recent past of music, regurgitated endlessly to meet established expectations. If the trend continues, we will never hear anything different, ever again. Luckily, many composers are still working imaginatively toward the future of music, even if it doesn't pay well.

Balance Lost: A bright sound, upbeat yet gentle, with a lot of things going on in the texture, to the point that it's almost confusing; things seem to get clearer during the solo break.

Basket Robbers: High-energy playing, with a smoothly executed rhythm change at about 1:07 that sustains the energy, and allows the song to bounce back even stronger.

Berkeley Social Scene: Fast and edgy, this gets into some intriguingly interwoven vocals.

bgm: One of several entries built around a Mediterranean structure favoured by writers like Jacques Brel and Leonard Cohen. This one is well done. The illustrative music is more circus than parade. All the same it's an affecting song, a probable vote.

Bjam: The lyrics won me over before I heard the song. I'm a little disconcerted by the folk pattern ending on a minor chord, normally associated with tales of hardship and grim determination. It gives you the opportunity to unfold eventually into a major chord, but at some cost to the overall emotional message. Anyway the lyrics got me to vote.

Brian F: Dives into straight-ahead rocking rhythm and chord patterns, with some enlivening changes in the arrangement. The recording feels dulled-out, possibly by compression.

Cannonade Streete: The rhythm sometimes feels oddly ragged, and the vocal melody is nebulous. Another two-chorder, mostly, but with variations. The guitar has a very slow flange effect, so slow that it almost plays against the continuity. The vaguely Australian wacka-wacka rhythm instrument adds unusual interest.

Caravan Ray: Two chords, which is a perfectly legitimate type of song, leaving me to focus on the lyrics and other details. The song grows nicely, carrying us along pleasantly, and now and again launching into a somewhat ejaculatory "Follow me!"

Carol Cleveland Sings: Mysterious opening, unfolding into a dreamy landscape with odd percussion, and then launching into a spirited, almost frantic, Sparks-like thing, which I'm quite enjoying. Then it's over. Might be a vote.

The Chebuctones: The lyrics just poured out one day, and then Ryan wrote some music and came over and played the guitar, which we got in about one take, and then I added stuff later. Based on what actually happened here in Halifax. I must post a photo of the Grand Parade taken on the day the fight was posted.

Chthonic Black: Ouch. I'm listening on headphones, and it's like sea urchins in my brain. Extremely Chthonic. Gets even better at 2:00. Evil seeps from every guitar pickup. At around 3:00, awesome and terrible arpeggios; well, arpeggios, anyway. I would never listen to this kind of thing, but you do it with conviction, so vote.

Chumpy: Clearly thrown together to help get to 100 songs. It's amazing what the right tools can add to a song. But not bad for off-the-cuff, and the effort to contribute is especially appreciated.

Chumpy vs. Lichen Throat: I'm getting some echoes of Elton John in the composition. When I read the lyrics on the forum, I liked them a lot. The music is OK, but as a setting for the lyrics, I'm not crazy about it.

Cloverdance: This one goes all the way back to a Buddy Holly sound, which is unusual for around here. It's a bit repetitive, is all. The fade is perfect.

Cybronica & Estaphonia: Drawing on Germanic folk traditions, moving through variations, changing time signatures, and modulations, developing in complexity, and performed with operatic loftiness, this is unusual for Song Fight, and why I love the place. Schubert this is not, but I might vote just because it wants to go there.

Dead Ambassadors: Enjoyably punk. The excitement and urgency get hung up a little at "A grand parade." Extremely short.

The Def Author: There are some odd change-ups in the backing rhythm, decidedly innovative but a little unnerving and maybe distracting; takes some getting used to. The drawn-out interludes are not saved by the triple-time drumming; the effect is to pull the listener out of the directness and presence of the beat, and briefly into some strange hallucinatory space. I do like the transition to swing time. Kudos for the willingness to experiment.

Dr. Spectacular's Power Circus: This fine prog-rock outing reminds me powerfully of Boston, but also the entire grandiose era. It's extremely well done, from the screaming synchronized guitars down to the timely insertions in every lagging moment. I never really liked the strutting pomposity of the moment in musical history, but I recognize the awesome quality of this track. Vote.

The Dutch Widows: The vocal is close and intimate, the music breezy in rhythm, rich in harmonic movement, darkened by the low singing.

DuToVa: A sparse arrangement undermines this song, in which I sense some promising drama. I think we may have spoken about Procol Harum before.

Entropic Pincushion: A daring collage, but if something was meant to emerge, it didn't. This sounds like someone whirling through radio channels at a frantic pace. I bailed at 1:30, but only because I have a lot more reviews to write. Normally I'd stay and enjoy the effect.

Explino!: a solid, tight sound, an energetic performance, and a musically interesting song. Nice harmonizing touches in the guitars and bass. Vote.

Falcon Artist: You sound like you might have a good voice for Irish folk, once you get going, but from this song I can't be sure. It needs more range in the melody. The hesitation in your guitar playing suggests you haven't been long at it. Keep practicing to develop clean chord transitions, and don't hit strings the chord doesn't need.

Frankie Big Face: Psychedelic bass runs, tremolo effects, and swoopy harmonies take me back to the late sixties.

The Frontalittle Squad: Clever lyrics put this in the front rank, and the delivery from all hands is fun. Vote for the entertainment value, but I've heard this once so I'm bailing at 3 minutes. By the way, what did one strawberry say to the other strawberry? "If you weren't so fresh, we wouldn't be in this jam!"

Future Boy:
Rhodes! That name is somehow inappropriate to the theme. This protest song has its heart in the right place, but for a good protest song you want something people can bang out on a guitar while singing loudly. It is musically interesting though.

gareth: You definitely did not wake anybody up recording this. You should have. It seems like a promising song. I won't hold that against you, and for its originality, musicality, and ability to convey mood, I might vote.

Giraffes for Wings: Sharp lyrics, and I mean pointy. The music is a river on which they are floated, dropped over rocks, swirled into eddies. For that, perhaps a vote. Ends abruptly.

Glenn and Rachael: Well done in all respects, but feels a bit formulaic as an eighties pop offering, with one or two momentary exceptions. Might get a vote for just how well it does that.

Glenn Case: Steely Dan and Joe Jackson vibes from the percussive chord clusters. Good composition. Strong singing. Tasteful bass interjections. The lyrics seem to be solid (I have a hard time paying proper attention to lyrics). Good build, rich harmonies. Vote.

Glennny: Extreme wah-wah bass adds an unusual texture; dual guitars from the seventies. Toe-tapping rhythm, plenty of timbral changes on a common theme. Quite well-done, possible vote.

heine: Tattoo drumming and some oompah bring in the parade connection, musically speaking. A chirpy accompaniment belies the cautionary lyrics.

The Hell Yeahs: Some solid head-banging here. Shades of Joan Jett, but also some Russian hoy-hoy. Tight and fun, a vote.

Henrietta20: Calm and steady progressions and a good vocal that puts me in mind a little of Kate Bush. I'm not sure about the talking overlay near the start; I find it distracting, but it does add rhythmic interest. You manage to escape the standard four-chord loop that traps so many modern songs.

Heuristics Inc.: Echo-driven rhythm. The vocals wake the listener into a dripping cavern held up by columns of dark chords, ankles awash in tremolo. Good sonic depiction.

Hoblit: The production feels a bit dry, and the chorus injects itself oddly, but this is put together in a playful and imaginative way that, in the end, brings delight. I can hear you having fun with it.

Hostess Mostess: A thoughtful mood distinguishes this song, slightly marred by occasional pitchiness in a vocal performance that is nonetheless very touching. The guitar work is also outstanding, and the composition is lovely. The song takes after a pattern, but it's very well done and a probable vote.

Hot Pink Halo: Occasionally I get hints of Fripp and Eno in the sound. The marching rhythm in the vocals serves the title well.

Inflatable Vegetables: The stomping unison lick needs more aggressive production, to be matched by the rest of the band. The composition seems to be tossed off; some outstanding moments in the playing.

James Owens: The heavy reverb was an attempt at Wall of Sound, but I gather it didn't work. The high notes gave me level problems, and compression was the fix. the brass patch was the best I could find, admittedly not good enough.

Jerkatorium: Strong lyrics set the tone. The music carries them along enthusiastically, not getting in the way, but not particularly selling them. Some crisp guitar work in the break. Abrupt end.

Jim Tyrrell: Starts out sweet and gentle, settles into a confident stride, emotions coloured by well-placed minor chords, the band hitting a sweet spot of shared mood, solid vocals. Vote.

The John Benjamin Band: Hard-driving guitar, with a piano that promises to cook. The song moves into a smooth insistent pulsing, calmed by layers of vocal harmonies. Nothing jumps out as memorable -- except the closing lyric! -- but the sound is great.

Josh Woodward: Rich arrangement, pretty and wide-ranging melody, sweetly sung, some unexpected moments in the musical progressions. The arrangement and production sometimes feels a bit un-spontaneous; hard to put my finger on it, but some spark of life, some idiosyncracy is needed for this to reach out of the recording and touch the listener.

King Arthur: Good to hear King Arthur again. Well-balanced mix highlights the singing, with refreshing guitar licks in the interstices. Comfortable, down-to-earth groove, warm delivery. Could be a vote.

<3: Weirdly child-oriented, like the creepy dolls in horror movies. The vocals have me waiting to hear a music-box, but the lyrics have me waiting to hear a helicopter. Could be a vote for its successful bizarre effect.

Lockheed Symphony: Morse-code syncopation, experimental electronic-music sounds. Reminds me of a Morton Subotnick album I used to have.

Lucky Witch and the Righteous Ghost: Anguished chord massings and cymbal bashings. Sounds live. The vocals are good but don't quite blend into the space. The chorus has hook potential. This one creates a certain tension and gives me a strong sense of seeing it on stage in a nightclub.

Lunkhead: Sounds like Elvis Costello's band sat in on this one. Great song! Interesting turns, has momentum. Good arrangements and textures. Very sixties in places. Vote.

Madame Breathehard: An unusual rhythm track with elements of musique concrete, very well done. It may be an instrumental, but it's clearly linked to the title and it's imaginative. Vote.

MC Frontalot w/ Baddd Spellah: Slightly histrionic vocals at the opening. Great accompaniment, with an elegance that sets off the energetic and rhythmically complex vocal line. Nice variations in texture. Ends too soon.

McHaggis: Beatle-esque at times, with country and alternative influences. The signature rhythmic bounce makes this stand out. Well-structured song. The mix is a bit quiet. Vote.

Melvin: Slow intro into a finger-snapping rhythm, over boilerplate chords. Welcome breakdowns, fun guitar-jack sound effect. Understated vocals, until they jump out at about 3:45.

mico saudad: A noble-sounding song, quite engaging musically. The vocals are a little buried and muddy. Pretty guitar work.

miscellaneous owl: The band is very present, to the point where the vocals struggle to find space; also I feel like there might be some distortion from the high levels. The song starts out strong until these distractions appear, and continues to have strong moments.

Miss Fancy Pants: Good to hear some Renaissance music here, and I don't mean the band. It seems to have a strange modernist overlay in the harmonies and textures. Is neo-Renaissance a thing? I might vote just because it's so refreshing.

Moody Vermin: It's moody. The song goes to unexpected places in lots of ways and holds my interest constantly, while sustaining the same mood throughout. The fade feels unsatisfactory, but never mind; could be a vote.

Motley Cyrus: I needed a name and pulled "Motley Cyrus" from a list I keep around, more or less at random. I should have called myself "Planning Committee." Yes, the parade band is cheap, but the whole thing was done in about 8 hours to push the song count towards 100.

Mr. B and Mr. C: Assault-style music, with the vocal treatment walked back a bit from what I'd usually expect for this type of sound. Intriguing lyrics. Definitely not boring.

mzmo: Work-horse chords, tender singing, smooth and dextrous lead work, rhythms a little awkward at times.

Nodal Nim: Bright mandolin sound in a 7/4 loop; these things generate excitement. Eventually breaks out into a different loop; not a richly developed song, but with strong playing, and the second loop has a complex charm.

One Future of Music: Cool vibe announces itself at once, with distant, heartless vocals exploding into a very contemporary-sounding chorus, exciting in a faceless sort of way. Stops abruptly; ran out of memory, I guess.

Paco del Stinko: A Spanish sound blended nicely with some non-Spanish chord choices. Wry lyrics. At 1:40 this did not thrash! You remain delightfully unpredictable.

The Pannacotta Army: Complex harmonies, tight punctuated jazzy rhythms, colourful arrangements; memorable trumpet and guitar breaks. Meanwhile the song drifts along, biding time.

Pigfarmer Jr: Sounds like Pigfarmer Jr. Some nice turns in a melody that mostly doesn't wander too far, some interesting minors in the chords. Delivered with spirit.

plusdot: A strangely declarative style throws shades of irony across an apocalyptic theme, accompanied by brightly attentive music. Wraps up just in time.

Pork Producer Jr: The opening has my attention. Dark and menacing but with a powerful sense of human limitation, without grandiose demonic pretensions. A new genre, Death Country?

Pringle Can: Jumpy energy, fast vocal delivery with a demented aspect, a very short entry honouring Song Fight.

Prob Trull: Slow developments in the percussion eventually develop formation; additions and drop-outs keep things moving. A pleasant song, with thoughtful lyrics, not striking in any way.

Rachael Layne: Reflective guitar arpeggios, with a bit of a Latin feel in the soft complex chords. Mellotron-ish punctuation is an unusual and interesting choice. The song has a wistful sensibility, and its warmth invites and sustains interest. The singing is just a little off-key here and there.

R. Meowsquito and the Tiny Ujns: Jaunty through and through. I can tell the lyrics are fun. Cute kid. This is a fine novelty song.

R. Mosquito: Accordion always adds interest. An appropriately Mediterranean song structure, with death metal vocals for some reason.

RoneAI: My, Rone, how you've changed! I wouldn't know how to get an AI to do this, so maybe it's good from a technical perspective. But we're talking Wonder Bread vs. home-baked sourdough, Cheez Whiz vs. a local cheddar, Kraft Dinner vs. Nona Rita's macaroni.

Ross Durand: The lyrics alone get this a vote. The music is good too, in a straightforward John Prine kind of way, well supported by the vocal performance. In the recording, the compression on the guitar is palpable.

The Seamus Collective: The parade overtones are present from the beginning, and they both blend and contrast with the rest of the song in a fascinating way. A dreaming effect, lovely vocals with interesting rythmic surprises. Good arragement, good writing. Vote.

See-Man-Ski: Solemnly reflective vocals, authentically delivered. The eccentric, stumbling beat is slightly distracting. By the end the vocals are quite moving.

Sell Crazy: Soulful vocal; the long uneventful stretches after the vocal phrases need something, maybe melodic guitar licks. The harmony vocal competes with the main one, needs a different colouration, perhaps tinnier and farther away. Good crisp sound, lots of energy

Shark Tornado: Engaging beat, hooky sound. The change at 2:00 offers timely relief, gets me through to the end, which is exciting.

ShoehornTC: Another brief echo of the Tracy Ullman theme song! Is it just me? Good structures, tensions in the harmonic moves, a richness over a gently insistent rhythm. Could be a vote.

Sober: Phenomenal performance, the song grabs my attention, the emotion in the lyrics comes through very well and is beautifully supported by music and arrangement. Vote.

Somewhere Off the Left Coast: Low in the mix. Conspicuous pitch correction is part of this kind of sound, but probably needs more aggressive musical support. Interesting bits, without any particular arc.

sonofsupercar: The musical moves are out-there. The band sounds like Beefheart, then sounds even more like Beefheart. A deliberately disjointed song. All the same, by 2:30 it doesn't sound like it's going anywhere it hasn't basically been. It's well done, but does too much, too soon.

Spy Vs. Pie: Grampa raid? Feels live; rhythms slightly uncoordinated, but with a charming warmth. A little short.

Stacking Theory: Striking a capella opening; band walks into a throbbing beat, slow but urgent. Then it's over just as it gets interesting.

Starfinger:
The theatrical vocals and kooky happenings hold a certain fascination. Parade barely survived the matter transporter.

Sugar Johnson: Great skipping groove, fine guitar work over a bluesy concept. By about a minute in, it needs a change. The lead breaks help with that a little.

Swampy Nethers: Brisk turns in the chords add interest. Pleasant, comfortable rhythm. Simple but effective piano colour shift. Needs more build after 2:30 or so.

T.C. Elliott: Sounds like T.C. Elliot; archetypal composition, done well. I'll have to check the lyrics to judge this one. Sweet harmonica break makes it a bit special.

Thanks for the Frisbee: Interesting musical details, develops a groove. Parts of this are hooky. Could use a touch of pitch correction on the high notes.

Tiny Robots: Very smooth treatment, outstanding vocals. Hints of R.E.M. in the composition. Weirdly, also reminiscent in places of whatever Tracy Ullman used as a theme song. Music needs to build more, song feels a little long, but the vocals may be worth a vote. Moved on after 3:43

Vom Vorton: The farty thing sounds, well, farty, but I like the melodic synth. Lyrical scan in the chorus is a little forced. The lyrics are strong. The musical arrangement is spartan.

The Worldly Self-Assurance: Pretty and mesmerizing opening. Several phases in the song make it interesting, but a little discontinuous. Cheerful tone, lyrics about burning and hurt and loss; puzzling that way.

WreckdoM: Odd juxtaposition of menacing and disassociated vocal; bombastic, over-the-top; notable drumming. Enjoyable. Vote?

Yaks of the Industry: Reminiscent of something Tracy Ullman used as a theme song . . . good build into a swirling, magical finish.

[owl]

I made it through! I started listening with the thought I would decide votes first and then review, and then was like "I know myself, I am never going to come back and finish these" so started writing reviews in real time as I listened to the songs--so no re-listens, none of the reviews taking longer than the songs, people with short songs may have been shortchanged, people who came up while I was in a bad mood or distracted may have also been shortchanged. Such is life. I have finally voted too, phew!

Abjure!: I'm a ukulele fan and this is a charming tune that feels almost like it could have come off the Magnetic Fields' 69 Love Songs. The harmonized vocals sound great, especially in spots where the female vocal is a bit higher in the mix. I do feel like it might have worked better with more of a contrast between parts, maybe the harmony vocal being used more sparingly and just coming in here and there for emphasis?

Abominominous: Rawk! Satisfying riffage. The mix seems a bit muddy. I am not cross-referencing the lyrics thread, because there are tooooo many songs this time, but I just heard "Tony Bologna" and I approve. Cool doomy break in the middle. Not really the kind of music I find particularly appealing, but it's well executed.

Add: Interesting groove. My college roommate was in an acappella group that sang a weird song about John Quincy Adams so the opening line is appealing to me for nostalgia reasons. The lyrics seem weirdly serious for the feel of the music, I'm not cross-referencing the lyrics thread, but a lot of the verse lyrics have a "Wikipedia song" listy feel that is off-putting. Chorus is more fun! The delivery of "manifest destiny" is great, especially where it's a little more loose.

Agony Sauce: Love the way the guitar/vocal/drums interlock rhythmically in the verse, really fun. I wish the mix was a little more dry maybe, the instruments all kind of feel like they're floating in different spaces. Interesting changes going on here in the middle, kind of Steely Dan-ish. I like the repeating "I think you're kind of a dick", great way to end it.

All The Robots: Ooh, love the kind of flamenco? feel of this. The lyrics kind of remind me of Warren Zevon. Nice instrumental break! I was going to say it feels too long, but it's not really all that long, so I guess take that as you will, maybe I just need to listen to the lyrics more closely to feel like it's going different places.

Another Future of Music: Impressive. Soulless. Hate it. Glad you revealed where it came from so I can say that honestly without fear of hurting someone's feelings.

Balance Lost: Great melancholy vibes, love the reverb and the combo of bubbly synth and bright guitars. The rhythm of the "time travel" line is satisfying and I really like the images in the chorus. Some of the chorus vocals seem a bit pitchy/loose.

Basket Robbers: Launches right into it with no wasted time, woo! Works really well, I love the energy and the way the vocals are processed, they sit nicely. The middle 8 is distinctive, but I am not sure I like it, kind of takes me out of the groove of the rest of the tune so it feels more like something that was decided on like "we have to have something different here" than something that feels like it elevates the song.

Berkeley Social Scene: This instrumental and mix has a kind of loose, live feel to it that I like. Not a huge fan of the vocal delivery on this one vocal, a bit too whiny for my taste and it's distracting, plus feels really pitchy around 20 seconds in. I like the progression, good bones and movement between verse and chorus. The solo seems kind of aimless and the little riff break around 2:36 seemed confusingly tacked on. I do like the chorus parts with the layers of vocals going on, nice vocal arrangement and it feels nicely epic.

bgm: I thought this was going to turn into a Red Hot Chili Peppers song or something at first, I like where it went instead. These vocals are really excellent, and this song has a wonderful sense of lazy menace. The cuckoo clock circus music break is kind of amazing. I liked this one a lot.

Bjam: Lovely vocal, but I wish the guitar didn't sound so muffled and boomy in contrast. I like the sweet sentiment, but the main hook/metaphor seems like kind of an awkward stretch to me, the title was not really used in the most natural way IMO.

Brian F: I love the sound of this, that intro bit and the various weird noises scattered through it are kind of Flaming Lips-y and this has a generally excellent lo-fi feel, and good hooks and energy. Gives me some Elephant 6 vibes too, like a more garage-y Apples in Stereo maybe. Really enjoyed this!

Cannonade Streete: I like the general chill 90's vibe and feel with the whooshy guitars, but these performances are too loose for me, I think it would be much better if you tightened up the pitch and rhythm in various spots and mixed it to be a bit punchier.

Caravan Ray: I really like those little guitar lead lines, this has a nice bouncy and nostalgic feel. Good switchups in arrangement, the sparse verses are nice. I wish the vocals were more in tune though, and not a huge fan of the fadeout, I think it could have used a nice big ending.

Carol Cleveland Sings: Sweet, dreamy, gentle, love the detuned sounds. Ooh, abrupt left turn! This also has a big Elephant 6 feel to me. Possibly some shades of the Cardigans in that fast part. Wish it was a bit longer, feels more like a sketch than a full song.

The Chebuctones: Nice playing, this is a pleasant, solid folksy tune! Somehow I can't hear the phrase "pitching tents" and take it seriously though--kept expecting some kind of dirty twist, but I think it's supposed to be straightforward. I think bringing in some different elements or changing up the arrangement more as the song goes on would help, it feels like you could have cut out the last third or so without losing much.

Chthonic Black: Takes its time with the spooky intro--more than 30 seconds before the instruments come in? I always like hearing an owl! Whoa this got intense real fast, that's a fun changeup. I am probably never going to be all-in on this genre but I think you did it well, some nice twists and turns in this and a good sense of darkness. The "grand parade" lyrics kind of don't feel like they fit into the genre itself.

Chumpy: This is a nice G&G song, dig the energy in the guitar and vocal delivery, but it's kind of pitchy. I think it could have used a few more takes before calling it final. The Disneyland lyrics are fun, they are the first to actually make me wade into the lyrics thread to see what I missed (somewhere around Goofy and the rat, I think).

Chumpy vs. Lichen Throat: Oh haha this is the same as the previous one? Wasn't expecting that, they are very different takes and I appreciate both versions. I like the floaty guitar arpeggios and atmospheric synth stuff, but the drums feel a bit plodding, maybe they could have used a bit more space. The vocals have a sort of cold metallic feel to them, not sure if that is just the type of reverb or what.

Cloverdance: That low voice coming in is fun, kind of "Daddy sang bass". This feels like it goes on and on without a change, though, I think it could have benefitted from more of a distinction between verse and chorus. The fadeout only contributes to that sense. It has more of a demo feel of laying down a first draft idea than a fully baked song feel to me.

Cybronica & Estaphonia: I feel like I should be drinking a glass of claret and wearing a silk dress while listening to this in a salon. I like that it gets darker in the back half of the song, and the a capella outro is lovely. Not my thing overall stylistically, but it's pretty.

Dead Ambassadors: Short and sweet, doesn't overstay its welcome. Nice chunky guitars, that last cascade into the ending is great.

The Def Author: whoa the vocals are LOUD, that took me by surprise. Nice clear vox despite the doubling/delay effect, but I think I would have preferred to hear the lead vox without that. This feels like it loses the plot a bit when it gets to the chorus, drums are kind of off in another world doing their own thing and the sung hook feels really aimless to me. Strong performance, love the flow in the last verse.

Dr. Spectacular's Power Circus: RAWK! Great big production and the vocal melody feels careful and well crafted. I have not looked up the lyrics but they feel intricate in a good way in those long lines. The mellow bridge into epic solo is a really good transition. Radio-ready!

The Dutch Widows: There are those trademark DW atmospheric vocals... I like the sound of them, but I do think they could stand to be a bit louder here, I like the chord progression/melody and I think the buried vocal kind of does the song a disservice. The electric noodling behind the acoustic guitar is nice and tasteful.

DuToVa: Enjoying the weird chromatic guitar movement, but the grunge vocals are not my cup of tea, particularly the "grand parade" delivery that feels very closed-mouth in an exaggerated way. That's a preference thing, but I think this could use a bit less reverb if you're going for the full grunge feel, it has an almost goth atmosphere to me that is at odds with the vocal style.

Entropic Pincushion: This definitely makes a nice experimental changeup from the normal songs I've heard so far, kind of fun conceptually but I can't say it's particularly enjoyable to listen to for more than a few seconds. Could be fun to hear it further cut up into something a bit more coherent.

Explino!: Solid performances and production. I like the backing vocals in the chorus a lot and the chord progression/melody in the chorus is appealing. This song feels very Songfighty somehow but I don't know how to define that, that's more an observation than a comment on quality or anything.

Falcon Artist: Always love a bit of talking like the intro of this song. Would love more delicacy/variation in the guitar playing, it's a bit overwhelming with the strumming constantly at 100% and drowning the vocals out a bit. This sounds like it was recorded on an old tape deck and I'm into that, but it's definitely not going to be everyone's thing.

Frankie Big Face: I'm a sucker for jangly guitar arpeggios. Nice backing vocals and melodies, the movement between sections is well done, but the mix seems a bit quiet and messy and I think was a bit distracting from the quality of the song overall.

The Frontalittle Squad: Meta nerdy shaggy dog tale. You can tell you're all having fun here! I don't know how much I would revisit this, but it feels perfect for the moment of this fight.

Future Boy: I like the G&P sonic palette, but the instrumentation and tempo seem too light for the subject matter for me. I feel like I should be hearing more anguish, I guess.

gareth: Lovely guitar, even the occasional fret buzzing feels nice, authentic. This is recorded really quiet and it's hard to make out the vocals, so it makes it harder to judge what's going on.

Giraffes for Wings: The guitar rhythms support the vocals well, but I think this could have used a bit more of a changeup at some point. Still, it's short, so not a big deal. Stops really abruptly, was it meant to cut off so soon?

Glenn and Rachael: Ooh, the traded lead vocals are nice. The vocals fit nicely together--sometimes there's a big difference in timbre or apparent volume between different vocalists, but it doesn't feel jarring in any way when Rachael comes in. This kind of feels like the theme song to a nostalgic favorite TV show in an alternate universe.

Glenn Case: Slow burner. Kind of also has a lost TV show music vibe, but moodier than the Glenn & Rachael track. Nice stacked harmonies. I like the held notes on the chorus. It sounds like there's maybe some unintended distortion on the vocals and keys at moments?

Glennny: wicka wicka waoh! Lovely moment where the acoustic guitar stuff comes in around 2 mins. This whole song is kind of a fun smorgasbord of various guitar sounds. Pretty fun to just bounce around the sounds and ideas. Had a bit of trouble making out the lyrics on the stereo where I was listening.

heine: Unusual arrangement! The instruments feel very quiet to me compared to the vocals. On the bright side, the vocals are crystal clear. This is weird and fun, kind of feels like a kids' song but with ripping flesh in the lyrics.

The Hell Yeahs: Dig this, it feels like something I would have heard on college radio in the 90's and called in to find out what it was.

Henrietta20: Great vocals, they feel just a bit loud in the mix compared to the instruments though. I am not so much a fan of the part where the second vocal comes in and diverges really widely from the lead vocal. The doubling feels unnecessary--I like how striking it feels when it's super sparse. The end feels kind of accidental, not quite fadeout and not quite hard stop.

Heuristics Inc.: Big sounds going on here. I like the creepy 80's goth vibe. Wish this changed a bit more, layers of synths coming in or a double time section or something might have been nice even if the 7 minute runtime is not a real 7 minutes.

Hoblit: I really like the idea here, the jangly and funky guitars are great and I love the main guitar riff, but the vocal is pretty off-key, especially when it first comes in, and spoils it a bit. Melody reminds me heavily of RHCP, "Soul to Squeeze" in particular.

Hostess Mostess: Love the weary but strong timbre of your voice combined with the warm guitar picking. This is a really lovely tune and feels very "real," for lack of a better word--like it was written from the heart, not like something concocted as an exercise.

Hot Pink Halo: The progression of the arrangement is great, I am enjoying the combo of instruments here and the feeling of it kind of taking off along with your high held notes in the chorus.

Inflatable Vegetables: I am loving how this plunges in full throttle, busy in the best way with all the guitar noodling behind the vocals, and also appreciate how short it is without feeling incomplete. I like that bratty crunchy riff and the way the rhythm switches up in the chorus.

James Owens: Whoa, cool chord progression, that chorus key change really feels epic. I would have liked this better with more organic instrumentation (the synths are very 80's but the rest of the arrangement doesn't quite go cheesy enough to really lean into it IMO) and no mentions of Reaper and Logic, which I understand is all part of the meta reference stuff but really turned me off lyrically.

Jerkatorium: John Sousa, now there's a reference I can get into. This is a super feel-good slice of upbeat pop a la Fountains of Wayne. The guitar solo theatrics are great fun and fit well with the song. The higher notes in the vocal feel a bit strained sometimes, but it's not too bad.

Jim Tyrrell: Nice performances, this has a 70's singer-songwriter feel to me with some of these changes and the instrumentation. I especially like the laid-back piano playing that lays a perfect backbone.

The John Benjamin Band: Epic production, this sounds huge and overstuffed with cool noises (in a good way!) Really catchy melody and I love those dramatic drop-outs. Have not been paying attention to the lyrics but the last line is memorable, haha.

Josh Woodward: Catchy, strong melodies, just has some things that rub me the wrong way: I am on the fence about this because there are various things about the production that read "soulless modern pop with all the edges sanded off" to me and turn me off, but sometimes, like a magic eye painting, I hear it as an 80's synthpop song instead and have considerably warmer feelings if I listen to it that way.

King Arthur: Good balance between instrumental interludes and vocals in this tune. Your voice has so much character. The "grand parade" lines don't feel terribly natural to me in terms of phrasing, but you pull it off and make it feel authentic.

<3: Fun and bouncy! The lyrics feel pretty tightly crafted except for one thing, the emphasis on the second syllable of "happy" which kept bothering me.

Lockheed Symphony: An odd little instrumental, enjoyable enough and I like the hidden morse code message bit.

Lucky Witch and the Righteous Ghost: Crunchy guitars, dark feel and yet a catchy chorus. Enjoying the freewheeling historical references in the lyrics.

Lunkhead: Poppy melodies that go in some slightly weird directions, big harmonies and backing vocals, Byrds-y chiming guitar, warbly organ textures, what's not to like? This is excellent, right up my alley.

Madame Breathehard: I like toy pianos. The ambient noise samples are enjoyable, but I kind of expected this to do more than it ended up doing, lots of noodling and not a lot of payoff.

MC Frontalot w/ Baddd Spellah: Vocals feel a bit quiet in the mix for the genre, this should really be vox-forward--it's kind of hard to make out the lyrics as is. Great delivery and lyrical flow, though, and catchy chorus melody.

McHaggis: The little pause and tumble at the end of the verses is perfect, and I like the lift into the chorus. This has a wonderful mellow feel that for some reason kind of reminds me of Elliott Smith doing a genre detour (I guess it's the combo of the soft vocal and some of the melodic choices?) The production isn't as loud and shiny as some of the other songs here but I really enjoyed your songwriting.

Melvin: Ah yes, listening to 1000 songs, extremely relatable. The vocal seems a bit loud in the mix, especially after the intro. Nice melodies, and I like the synth pads and the way the instrumentation develops as the song goes on. The meta lyrics feel forced at times but I'm generally giving that a pass for this fight. Oh look at that, a proper coda/outro part.

mico saudad: The vocal is a bit boomy and hard to make out, but it has a really nice timbre and warmth to it. This song has good vibes, kinda lonely kinda cozy, I feel like I should be listening to it in a dark dive bar with tinsel and a disco ball on a tiny stage.

miscellaneous owl: It me, with an extremely last-minute song I started at about 11 PM the night before Sam posted everything. I mostly just wanted to make big floaty shoegaze/dreampop guitar noises. mo gave me the pedal that is responsible for that, thanks mo! I started out wanting to make something that sounded like Cigarettes After Sex, they have a dreampop vibe but super loud close-mic'd vocals, but I chickened out with putting them so forward in the end, and went back to the more genre-standard buried vox that inevitably people complain about and which I see has predictably gotten a lot of complaints here too.

Miss Fancy Pants: Very medieval, a much older grand parade than most of the ones here. Good music for a fool to caper to.

Moody Vermin: That repeating guitar figure is unsettling and cool, really like it. Lives up to its name with the moodiness, good texture to the vocal, those kind of falling detuned synth sounds in the bridge followed by the almost theremin-like lead guitar tone are great. Oh no, a fadeout? I wanted a crescendo.

Motley Cyrus: Evocative lyrics. tbh I didn't really want it to go into that parade music part when it got there, it's competently done and all but I was enjoying the sound of the earlier part.

Mr. B and Mr. C: Oof, that is certainly one of the guitar tones of all time. It's not the easiest listen. This doesn't really hang together well for me, it is kind of giving me sensory overload, but it sounds like you had a vision and delivered on it.

mzmo: I like the wistful feel of this one. The combo of the straightforward acoustic rhythm guitar and the subtle tremolo picked part is really nice.

Nodal Nim: Love the sound of that mandolin. I would have liked more change-ups in this song to mix it up a bit. Last 40 seconds or so seem to be empty?

One Future of Music: See review for "Another Future of Music"

Paco del Stinko: I like the mode you're playing in. Everything fits together really nicely in this tune and the guitar playing is lovely, the little solo around 2 mins in and the triplety rhythm part preceding it are my favorite parts.

The Pannacotta Army: Tasty harmonies in the chorus, I was doing something else and immediately perked up when I heard that part come in. Really enjoyed the instrumental break arrangement, particularly the first half. Really polished production and songwriting as always.

Pigfarmer Jr: Memorable chorus, I love the phrasing of that "try to catch the candy" line. This gives me some Tom Petty vibes.

plusdot: I feel like this goes into a sort of silly voice part where it leans more Fred Schneider but I like this better when it's taking itself more seriously, and is weirder with the kind of spoken-word stuff over 90's grungey riffs. Love the weewoo synths that come in later on.

Pork Producer Jr: Super striking lyrics and presentation. I think the repetition works well except for "vile blood clots on you" which is good the first time you sing it, but felt awkward to me when repeated. Unsolicited advice (like all of these reviews) but I think maybe taking out the lines explicitly about revenge could make the song more subtle/ambiguous and effective.

Pringle Can: I think this is one of the better meta sets of lyrics in this batch of songs so far in terms of potentially having a more universal appeal. Unhinged, but there was room to go even more over the top.

Prob Trull: Nice harmonies, this is a sweet little confection of a song with a lot of details for its length.

Rachael Layne: Nice progression on the guitar there, some of the moving lines feel Beatles-y. Lovely vox as usual, this has a really nice intimate feel. Ooh, mellotron!

R. Meowsquito and the Tiny Ujns: Cute! I really like the cowpunk kind of feel of this and of course the cats, but I wish the instruments were louder, this feels washed out where it should feel punchy.

R. Mosquito: Tom Waits, is that you? Great slightly scary vocal delivery.

RoneAI: Can't really engage with AI songs, sorry. Plus I hate this style even when made directly by humans.

Ross Durand: Lots of songs mentioning the grand marshal (so far, 2, but that still feels like a lot, haha). Wonderful feeling in the performance, it feels like I could be captivated in the front row at an open mic.

The Seamus Collective: I like those vocals and the slide guitar details, very pretty, and the contrast with the big farty tuba is nice, along with the marching band breaks it gives the song kind of a bizarre twist that I find very appealing.

See-Man-Ski: This intro part has a fun beat, kind of feels like one of those old-timey news tickers. Nicely written and arranged, it holds your attention.

Sell Crazy: Big sound, I like it--kind of reminds me of Guided by Voices. I like hearing the tunes in this batch that stay well away from the "parade music" trope.

Shark Tornado: Riffage! Catchy song, tight performances and production.

ShoehornTC: I really like the melody and harmonies! The constant quarter note piano feels sort of oppressive after a while.

Sober: Nice playing! Love the bluegrass feel. I like that you're not just delivering the lyrics in a really straight way--playing around with the talky bits and rubato rhythms makes the tight harmonies hit that much harder.

Somewhere Off the Left Coast: I have a visceral hate of the autotuned (AI?) vocal, sorry. It was not what I was expecting either with the slightly messy piano at the beginning.

sonofsupercar: I like the abrasive noise rock feel in theory, but musically, this is kind of a tough sell between the pitchiness of the vocal and the instrumental parts that seem to be playing at the same time in different keys.

Spy Vs. Pie: The shimmery little lift in the outro is great. The vocals are a bit messy but this fight has cemented for me that I'd 1000% rather listen to something human but messy rather than perfect and made by AI.

Stacking Theory: Take me to church, Stacking Theory! This has a really cool progression from the vaguely synthetic-sounding layers of harmonies to the impassioned back half with crashing drums and melancholy organ.

Starfinger: Theatrical! Maybe over the top, maybe just enough? Lots of cool sounds and textures going on in this song. Love the chopped-up processed bits that start around 1 minute in. The "here comes the band" part made me laugh, too.

Sugar Johnson: Enjoying the playing and the classic bluesy progression, but it feels pretty repetitive by the end. Genre-appropriate, I guess, but would have liked more variation.

Swampy Nethers: Loving the tune and the harmonies. This kind of reminds me of "The Passenger" in terms of the melody and feel. The lyrics are a creative take on the title.

T.C. Elliott: Lots of evocative, concrete images in these lyrics, and I liked the mountain/molehill line.

Thanks for the Frisbee: I kind of love this aesthetically and the interesting shifts between sections, but the drums feel kind of like those videos of the overly qualified Japanese mascot drumming at a kids' show--like maybe one or two notches of intensity above the rest of the instruments. Cool synths. Cool a cappella outro.

Tiny Robots: Lovely vocal, strong and clear, and great melody. Very Fleetwood Mac. Super clean production, beautiful song.

Vom Vorton: Ooh percussion! This is a strong melody with some weird twists and turns in the chord progression. Love the jangly guitars and the synths, the theremin one and the bloopy bass. "Mistakes" feels like it's emphasized on the first syllable instead of the second which bugs me a little every time it comes around. Perhaps that's a little bit of meta?

The Worldly Self-Assurance: Quirky and stuffed full of ideas, pretty much all of them good. This is really charming, love the mix of instruments and sections, nice vocals, especially the harmony parts and that dramatic sparse intro.

WreckdoM: Inventive and brash, kind of hypnotic. I could imagine this song being found by a random DJ and ending up with a cult following of people wanting to know where it came from.

Yaks of the Industry: Huge sound, shiny production, love the arpeggiated synth break and orchestra hits in particular. A nice way to end this epic fight.

[owl]

In case anyone else would benefit from this, I've added a thing so that you can unshuffle the names on the front page, so that if you've taken notes on which songs you want to vote for you can easily find them in the list. Just go to https://songfight.org/?noshuffle=1 and it'll keep the songs in alphabetical/playlist order. No guarantees that this feature will stick around, but I found it super useful for voting on this ginormous fight.

oh my freakin god I am so glad you did this, thank you so much

[Ross]

First of all, respect and appreciation to all of those who actually managed to review all these songs. I did not have that time availability these two weeks. I listened to most of all of them.

FWIW, I believe my votes went to:

Agony Sauce
BGM
Brian F
Caravan Ray
Chebuctones
Dr. Spectaculars Power Circus
Future Boy
Heine
Jim Tyrell
King Arthur
Mico Saudad
Panna Cottta Army
Pringle Can
R Mosquito
Sober