CheshireCat

Great track. High energy level and I love that hollowed-out bass tone.

Nice execution. I think it would work great as an interlude between two longer tracks.

Nice lines, solid track.

Amazing guitar work as usual. Real funk soul.

Heavy like an ox

Ambient? I might call this easy listening :) Fantastic guitar work, but I would tone down the phaser effect a bit or use it intermittently. I felt like I just got insta-drunk when the sound stage started spinning around like that.

Really appreciate what you did here with a nod to Dub roots. The sparseness is great, but I could use a little more punch. Maybe some more meat on the synth tone and turn up the high perc a little. What kind of wave was used for the bass? It sounds like a sawtooth but I feel like I wanna hear a more square bite from it. These are just nits that I can't help picking, really original idea overall.

Beautiful track, very restful. Your wife's description is particularly apt. Is that a single word in Finnish?

I'm ready to hear the rest of the EP now :D

Nice, breezy little track. It's really well written but I could actually use some bass in there.

I'm hearing a solid ambient core that could have come off of the drawing board of anyone on the Kompakt label.

Wow you really managed to do a lot with some simple stuff. I love the polyrhythm you have with the harp in 6 and the beat in 4. Surprisingly appropriate for a shuffling hip-hop beat. Only thing I'd recommend is moving to some different chords throughout the track.

Great melodies and patches. The bass suck is a little intense but it really makes the track drive on big or small speakers.

This is a really potent trip hop track. Really gets under your skin. You should check out a guy called DJ Frane.

The mix sounds nice, good texturing, but I would quantize those beats. There are a couple hits in that loop that are pretty far behind the beat and it gives this track a loping feel that I don't think does the style justice.

I just gotta say, this track popped up again and your writing has a maturity that you just don't find a lot on here or anywhere on the internet for that matter. I'm going to be uploading some dubby/metal tracks featuring my bass soon, I'd love to do some bass work with you if that's something that interests you.

I love minimal electronic music, this track has a great feel. If I had to make any suggestions though I feel like it's a little too dark for these samples and this vibe. I'd be interested to hear what it sounded like if everything were up an octave or a half.

Nice track with a coherent idea. I feel like it would gain a lot from an accelerating tempo throughout the song, maybe if it ended 5 or 10 BPM faster than it started.

Yo that bass line is really catchy but I gotta tell you the samples accompanying it are in a different key... it's dissonant in a bad way and it really breaks up the track for me. If you transposed the bass or the other samples I could totally see it working great. But as it is I found it a bit disappointing after that nice intro with the bass hook.

You can spit. That is all.

I like that this track is nice and heavy yet not very dense on the bottom end. It makes it sharp and aggressive like some kind of toothy mechanical animal.

Hey I checked out a few of your tracks, and you're honing this interesting fusion of dark electro, industrial (almost gothic) and new wave. For a guy recording at home with a mic that probably doesn't cost more that $199 the vocals sound excellent. Your songwriting is getting much better, this is possibly your most coherent track.

I do have a couple of suggestions. I would add some more harmonic structure to your songs. In this song the bass synth stays on the tonic or "home" note through the whole thing, while the higher distorted synth sticks to one chord. It's driving, but for vocally-based song, harmonic progression really sells the package. Practice bouncing between two chords in a verse and a chorus section, (pitch shifting samples is a nice way to do this). You're probably going for pretty simple, powerful industrial song structures so minimal movement is necessary, but it really makes the difference between a musical idea and a developed song. Study how your favorite artists build pop-structured songs. They are made of simple repeated structures with chords or chord progressions in sections: A-A-B-A-A-B or A-B-A-A-B-C-A for example. Also when it comes to "proofreading" and mixing tracks, I have the same problem of being easily overwhelmed and quickly obsessed by little details. I find that when I start any audio project it's easiest to attack it in layers, and peel them off one at a time like an onion. First I'll get the samples right, then I'll lay them down and draft the structure, then I'll work on transitions, then mix, recheck, mix again, etc. Working on tasks of one type at a time and in logical order keeps me on track.

Hey I hear a lot of potential in this track, I hear a great Beck or Montreals sort of modern vibe in it. I read your reference to previous mixing problems and I know what you can do to get that bass guitar to settle in the mix properly! You don't have to turn down the bass frequencies in the song, certainly not on the bass guitar track, but instead throw a filter on the bass track to take away some of the /treble/. The problem is the bass guitar was real present, but you cut the bottom end off, and it almost sounds like a regular guitar, making the volume war between the two even worse. If you roll off those high frequencies which are just not necessary from the bass guitar here, and turn up the bass frequencies a bit, it should settle in just right. I only write this much because I want to hear the track sound even better!

This is really solid, for a jam it's nice and tight. On the production side, I'd recommend a less brittle mic for the guitar cabinet, and in general some more work on the mixing, particularly bringing back the bass. The mix is really crowded with all the tracks fighting for the spare headroom.

Some real nice samples here, I like the production