| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 2550.1 | Good Job All Around | AQUA::ROST | Who *was* Martin Lickert? | Thu Jan 17 1991 08:39 | 66 |
| I doubt that I can give a truly objective review at this point, since
I've been listening to the submissions for so long that if I hear them
again, I'm gonna scream 8^) 8^).
Looking all the way back to the first COMMUSIC tape, it's really
startling how much people have progressed, both musically and
sonically. This is the first tape where every single selection is good
enough sonically to be a pro demo, if not exactly CD ready. Making the
master was a breeze due to the high quality of the submissions.
As for the music:
Rick Ryen set himself up for a tough sell by covering three classic
rock tunes, because the immediate comparison is to the originals, and
in that context, well, they aren't as good. I was very impressed with
the drum programming on the Hendrix tunes, trying to even *approximate*
Mitch Mitchell's over the top style is quite a feat.
Karl's entries were a pleasant surprise. It seems to me that he's
moving towards an "edgier" sound which I prefer; it's too easy in this
style to create a snooze-fest by getting too mellow.
My favorite piece of the tape is "Jenny's Lullaby", and that's largely
because I had been asking Tom Benson when he would submit something
other than comedy/novelty pieces as he has in the past. I'm impressed.
The two pieces from Rich Coccoli are from a genre which I'm not so
infatuated with anymore, but both the songs and performances are very
good. I'm really impressed with the sounds he uses, since I've never
been a big fan of the typical L/A synth sounds, and his workhorse is a
D110. Rich's patches hark more back to the old analog days and that's
a sound I like.
Like Rick Ryen, Edd's put his head on the chopping block by doing a
cover like this. He has the advantage that I never heard the original,
though. I can really appreciate the sequencing effort that went into
this. This could easily fit in on any fusion show I've heard on the
radio in the last few years. Compared to Edd's last contributions (was
it CM3?) this is an incredible improvement. How about an original next
time?
Tom Janzen and Bill Grundmann are the closest to real "computer" music
here. Based on Tom's stuff, the AlgoRhythms program is an impressive
piece of work. Congratulations on the sonics, too, many of his past
submissions were marred by really poor sound, while this is quite good.
Bill's pieces are obviously more poppy than Tom's. From his liner
notes you may get some insight into how Bill works; I'd heard all of
these before he submitted them and after finding out how he actually
created the pieces I was even more impressed.
Eirikur's submissions were something I had been waiting for, since we
ahd talked a number of times and he had helped me out on some hardware
problems I had, but I had never heard any of his music. It's much more
symphonic (for lack of a better word) than most other noters (except
Karl) and I hear echoes of Tangerine Dream in it.
Michael Wolfe is a new noter here, and I'm happy he was able to submit
something for this tape. I'll admit I found these pieces meandering,
that is there was no strong forward motion to them. As ambient pieces,
however, they work well. The strong role of guitars is welcome to
hear, as it's a nice contrast after listening to barrages of synths.
Luckily (for me) there wasn't enough room to put in any pieces of my
own, maybe on CM9 the competition won't be so stiff 8^) 8^).
Brian
|
| 2550.2 | Tom's review of commusic 8 | DFN8LY::JANZEN | Tom MLO21-4/E10 223-5140 | Thu Jan 17 1991 16:17 | 228 |
| Here is my review of Commusic 8. I enjoyed it. I had to remember
I was listening to wealthy (mostly) software engineer MIDI hobbiests
and not to expect the same vocal chops, musical knowledge, and general
standrads of professionals, just the same factory presets ;-).
I want to thank Mr. Rost for doing all the coordination, management,
production and mastering necessary to allow me to share my musical
experiments and hear my friends' work. This is a nice album for us
all to enjoy!
To give some form to my reviews, I did not usually use a checklist:
C. Melodic interest
D. Words.
2. harmonic interest and structure
1. mix-down.
* Vocal technique
- Instrumental chops
o General likability.
Rick Ryen
Foxy Lady
While listening to Rick's songs, I transcribed the lyrics word-
for-word to make sure I was listening.
When he says at the end, "You make me feel like a s**t like a stained
foxy lady", he examines the ambiguity, even the essential
androgeny, of an intense sexual meeting, the exchange of identities,
and the confusion and conflict that follows as identities fight
to re-establish themselves. Or maybe he said something else it was
hard to hear. :-)
Fire
I thought pick-ups were passe' (and unhealthy). But I guess we can
reminisce.
"I've only want fun and desire
Like a sandwich to your fire"
The image is powerful one, that of a hot roast beef sandwich being
heated on an intensely hot grill until it almost burns.
And a little S&M implied:
"Aint' gonna hurt you baby"
twang twang buzz thump boom thump boom pzzzzzz (cymbals)
Kind of old fashioned. But I don't know the sources; I've only
heard a couple rock songs, both by Debbie Harry on Saturday Night
Live. It reminds of that, I guess.
Riders on the Storm
The lyric is very good.
"into this house we're born
into this world we're thrown
Riders on the Storm"
"an actor out alone" I can relate to that, all my lectures are
solo.
There seems to be a warning about pedophiles preying on kids
in cars. Perhaps this is the meaning of the song, that the
general statement of life's "storm" there is a particular
storm of a threat of a molestation. The mood was suitably
maintained.
There's an intrument there that sounds as bad as my violin, maybe it's
a sustained guitar. It is out of tune with the synth. Monotonous
rhythms track.
Karl Moeller
Ripping Off the Monks
This reminds me of the part of Slowasleep where I sang the Dies Irae
chant with horrendous amount of reverb; I first wrote that in 1984
when I was 29, although I admit it wasn't part of a live performance
or a cable TV program until 1986. The count of eight completely
undermines the fluid ametric sense of the chant to the point of
monotony. It wasn't necessary to use a regular meter or even
drums. Karl's piece is pretty relentless.
Relentless
Oops, sorry, this is Relentless. A progression, in fact I think it
is so common it has a name
but I've forgotten it, a progression I first used when I was 15, is
rewarding to improvise pretty harmonies to. There are more
interesting cadences for it, however. I have become disenchanted
with lead synth voices. They are too squeaky, tinny, and etc.
Perhaps acoustic voices are the best after all.
Sunscape
A drone bass. A dialogue with a piano figure and a drum.
If they are arguing they could talk at the same time. The
perpetual alternation is trying. It's amazing how it promises
to build and yet completely fails to do so. The illusion of
almost nearly incipient activity is uncanny. Oh, something did
happen, it faded out as suddenly as it faded in.
We got out fill of flat sixths in these 3 cuts.
Tom Benson
Jenny's Lullaby
This refreshing fluff is trying to be just what it is without
pretension. It is hard to balance voices. The melody could have been
balanced forward more. I think I saw a book about orchestration
for synthesis in the store; I studied orchestration in college
and don't make music much anymore anyway, but it might be helpful
to those who still have musical ambitions. There's a little piece
by Rebikov I think called Little Girl Holding her Doll that this
recalls for me. Hymn-like harmonies, slightly uneasy voice-leading.
Dissonant passing tones in parallel thirds at the wrong time.
Fatboy and Chubs Theme
This is pretty effective for what it was supposed to do.
I have recently (by complete and total accident) heard
some Saturday morning cartoon themes, and this fits right in
there.
Rich Coccoli
Everyman
How do you do that British accent?
This is the most successful parody (in music, a parody is
just an imitation, not a spoof) of commercial rock on this side of
the album. But all rock is a parody of commercial rock,
because people want to get famous imitating someone else.
I don't accuse Rich, this song is OK. Even the break came
at the right time; the song is paced. Maybe rock is a
deeper study than I had thought.
You can't see me, I'm underground.
You can't even hear me, I make no sound.
I only come out at night time
in the sun my eyes they hurt me.
Don't deny me the right to be here.
Autoerotica
Kid loves his car ;-).
Not sinister enough.
So you want to come. She's not the type of girl you bring home
to mother. Met her in the back seat of a 52 chevrolet. You can
smell the 30 weight on her breath. She's not human. She came me
with a manufacturer's guarantee. She really gives me the get up
and go.
Edd Cote
Rumble
I am unfamiliar with both the artist and the piece being transcribed
here. However it sounded OK to me. I can see where transcribing
the kit track was murder. This is a great lesson in the different
between the repetition of a drum machine and a live percussionist
highlighting every bar in a different way; I know that I have always
learned from transcribing things in detail.
----
Tom Janzen
Piano Concerto
The portion of the form heard here starts with a fast solo and
gradually gets slower and slower. The impression is not very
dynamic; I should have chosen a different part of the form.
The whole form has an arc structure.
Gamelan
Gotta get rid of the hum. I know what it's from, but getting rid of
it would require spending money on music. The drum is too loud and
the flute too soft.
JAM2
A tad loud for the level of the rest of the album. The "drum" is
not very convincing. This mix is too hot and loud.
Bill Grundman
disco very
C. Melodic interest
3 out of 6
D. Words.
0 out of 1000
2. harmonic interest and structure
1 out of 4
1. mix-down.
68 out of 69
* Vocal technique
0 out of 1
- Instrumental chops
8 out of 12
o General likability.
B+.
CBabbage
C. Melodic interest
3 (as in a performance review)
D. Words.
Very very appropriate words.
2. harmonic interest and structure
C out of F (alpha)
1. mix-down.
F out of F (hexadecimal)
* Vocal technique
N/A don't be ridicolos.
- Instrumental chops
Kind of stiff. Gee was this sequenced?
o General likability.
OK out of Incredible.
Ending was kind of sudden. The context called for a coda.
clocks are skiing
Maybe I should teach a harmony class for engineers. This whole album
depends heavily on pedals, ostinati, and 2-chord alternations. It
betokens a lack of harmonic and structural sophistication.
(Form comes from harmony in older tonal music).
A Fistful of Fives
Was out in the john during this, sorry. Forgot I had a pause button.
air gap
Well you can make a polished studio sound, and I know that's admired
here, but how much can I attribute to the equipment budget?
Well, mixing is still not automated (even though composition is ;-),
and the mixes for all the
numbers are clear and layered (and bright; when a mix is too
bright, the flanging making something even brighter can blow a couple
high-frequency cilia in the cochlea ;-) but not this time).
Eirikur Hallgrimmsson
Rain
Excessive arpeggiation. Uneven textures. Partial piece. Fun though.
The piece is unified by the types of instrument sounds used.
Sounds like an improvisation on a cathedral organ (and on the chorus),
with velocity.
Triumph
Sounded OK to me. Eirikur is interested in more orchestral
and classic instrumentation than most (but I am too).
Michael Wolfe
Midnight Vibrations
These are passable instruments with good control of layering.
OK I wasn't listening, I was writing the rest of the review.
sorry Michael.
On Top Of It
Sounded OK while I was writing.
I admire people for the work they obviously put into making their musical
hobby (I have succeeded in making the computer do all the work so I can pursue
my hobby, watching TV, which is currently very depressing and upsetting).
Listening to this album was, overall an OK way to forget I just paid a
speeding ticket (discounted to $50 from $110).
Tom Janzen
|
| 2550.3 | Expanded review... | WEFXEM::COTE | Edd, 18.5 - Mousies, 15 | Wed Jan 23 1991 11:47 | 170 |
| I've listened to the tape for a week now, both passively and actively,
and figure it's time to spill the beans...
RICK RYAN
"Foxy Lady" - As stated before, doing a cover leaves one open to
comparisons with the original, and having worn out my copy of "Are You
Experienced" in the late '60s, I think I can say this is a decent cover.
Not perfect mind you, but I can see the beer drinkers in any bar eating
this up.
A couple things stick out production wise. Namely the overbearing tambourine.
Too far up in the mix, and not needed to begin with. And where are the crash
cymbals? The drum programming is over-all OK though, if a bit stiff.
"Fire" - Again, a live version of this would probably have the joint jumping.
The drums are mechanical in places, most noticeable in the rolls where it
has no "weak arm - strong arm" dynamics. Rick seems to have the essence of
Hendrix in his guitar playing, and the attempt is commendable even if it
doesn't quite sound like Hendrix. Hey, who does? The guitar could be locked
up a bit tighter with the bass.
"Riders On The Storm"
%OOPS-F-BKBTBNKERS, Back beat bonkers...
Repeat after me, one TWO three FOUR. The backbeat goes on TWO and FOUR.
(I ripped out my copy of LA Woman to check.) Maybe Rick's making an artistic
statement by shifting the snare to one and three? I found it disconcerting
to say the least...
Other than this faux pas, I can't say much. My tape is stretched, and the speed
drifts horribly thru this tune. How bad is it? The signature 16th note riff
actually goes UP. Sorry, Rick. For reasons beyond your control this piece
is to painful to listen to...
KARL MOELLER
I look forward to Karl's music with the same anticipation as meeting a new
prospective lover. Always pleasant. I know it's gonna give me a warm,
comfortable feeling as both parties are gonna be on their best behavior.
And like meeting someone new, I've come not to expect overwhelming emotion.
I'll come away ultimately unsatisfied in at least one or more respects.
Didn't Karl say he was going to address a comment I made about how I felt
his pieces don't seem to GO anywhere? Will it be on C-9?
Karl's chops and production are above reproach once again. Especially
impressive was the bass patch he's using. Nothing synthetic about it.
"Ripping Off The Monks" - This piece would fit perfectly in the soundtrack
to a movie. It has the capability to enhance, but I don't think it would
cut it on it's own. There's a promise of resolution at the end as the
instrumentation builds, but alas, I'm left hanging.
"Relentless" - Suzanne Ciani could draw inspiration from this. I like it
alot, it might well be my favorite part of a larger work.
"Sunscape" - Oh boy, sample and hold. Ambient space demo.
TOM BENSON
"Jenny's Lullaby" - She's a lucky little girl to have this specially
commissioned piece in her honor. I kept wanting to hear a little music
box, and while a couple patches came close, nothing was quite right.
The choice of timbres is always the choice of the performer, so Rick
probably is satisfied with his choice.
The only production nit the stood out was at introduction of the 3rd iteration,
where it sounds like a bad punch-in with mis-matched levels.
The song seemed a bit long, but since lullabys are for sleeping that's probably
more a reflection of the listener and not the artist.
"Fat Boy & Chubbs" - Fun! I almost wanted to hear it thru a cheap Auratone
to give it the proper TV ambience.
RICH COCCOLI
The production on both of Rich's submissions is some of the better on any of
the COMMUSIC tapes. If the masters show the sonic qualities that are apparent
on my duped duped dupe, he can be proud.
"Everyman" - Sounds like Alan Parsons. Transparent drum programming. (Or was
it live?) The change-up as we hit the instrumental break really caught my
ear. It added some tension, but broke just when I hoped it would. The sax
again leaves me wondering if it was live. Could easily be included as a
supporting cut on an album, but probably not a single.
"Autoerotica" - Of Rich's two submissions, I preferred this one, and can imagine
hearing it on the radio. Nice job. Joe Jackson comes to mind.
TOM JANZEN
I don't know whether to review the software or the music. Tom's programming
certainly seems to have the flexibility to spit out interesting riffs, but
knowing Tom's eclectic (bizarre?) tastes in music, it's hard for me to tell
if he hit the mark or not.
"Piano Concerto" - Interesting riffs and sections but ultimately frustrating.
Too long, but I'll be damned. It has an ending.
"Gamelan" - More accessible than the first, but still contrived. What happened
at the end? Did you run outta RAM?
"Jam 2" - Even as a fan of such folks as Ornette Coleman and James Ulmer, I
found this piece tiring. I suspect the timbres used have more to do with it
than the piece itself. I hope my TZ never acts up like that.
BILL GRUNDMAN
Since Bill seems to be fairly quiet in the file, I don't have much of a
clue as to what he might be trying to accomplish. His production techniques
seem promising, but still need work to eliminate a rather "dry" character.
Maybe this is his intent, I don't know.
"Disco Very" - I'll admit it, I liked disco music. This piece woulda been
a killer in '79. Good production values. The latin percussion comes in late
and adds, rather than clutters. The ride cymbal towards the end goes a long
way towards eliminating the techno-feel. Only a 4 on the floor bass drum
would have added to the true disco effect.
"CBabbage" Is this really the same guy? It sounds like a dirge.
"Clocks Are Skiing" - Kraftwerk lives. The steady 8th notes get a little
tiring, but the obvious reference to clocks allows for it. It really does
sound like skiing in a light snowfall!
"Fistful Of Fives" - This type of "math music" usually doesn't impress
me. Music is from the soul, not the algorithm. Not that it's without
it's good points. The piece is kinda fun, but leaves me empty. The drums
left me cold. Repetitive and uninspired. Listen to "Take 5" to see what
can be done in 5/4.
"Air Gap" - A snoozer. More mechano-drums and not much to say.
EIRUKER HALLGRIMSSON
Kudos to him for taking on a more challenging genre. My familiarity with
classical music is limited, so I'd be doing a disservice by trying to
dissect it. It's enjoyable.
"Rain" - One thing stuck out from a technical viewpoint. There were a
couple phrases where the SPL came up, but the instrumental articulation
didn't seem to support it. It sounded as if there was a level mismatch.
If it was, no big deal. But if the intent was to make it appear that the
orchestra was playing louder, there's a problem. It simply sounded like
increased volume with no change in timbre. This is too much writing for
such a small nit.
"Triumph" I expected something a little bit more pompous. This just
didn't seem triumphant, although the hints of the Marlboro Man riding
outta the sunset do allude to it. It doesn't seem to develop the point.
MICHAEL WOLFE
Another new-comer who's values I'm unsure of. Well, welcome to COMMUSIC.
We like each other well enough, but this ain't no mutual admiration
society. Mike seems like he has something to say, but the music doesn't
effectively communicate it. If there's one thing that I found really
annoying, it was the lack of any formal ending. Both tunes just kinda
suddenly collapse. Even a studio fade would be better.
"Midnight Vibrations" - Sounds like Pat Metheny searching for a song.
Lotsa themes that could use development. Good production.
"On Top Of It" - More uninspired drums, but the music is at least out
there exploring.
Edd
|
| 2550.4 | Ricks Review - Good work everybody | VOLKS::RYEN | Rick Ryen 240-6501 AET1-1/A6 | Wed Jan 30 1991 21:08 | 108 |
| I've spent a fair amount of time listening to this tape, so here
are some humble comments.
First to Brian. A very well made tape! It sounds very good on all of
my equipment.
This is my first time listening a Commusic Tape. I was pleasently suprised.
There is definately a lot of talent and skill represented here. I am inspired
to try my hand at composing. Something I have not yet attempted with any
level of seriousness.
Karl Moller
This is my first time to hear Karl's work. Very nice. My favorite
is Ripping Off the Monks. It sounded like the perfect tune to end an Album with.
Relentless was very listenable, with a good usage of reverb,
echo and pan effects. I liked the melody layers, and the feeling of floating.
(Or maybe that was the medication. I was in the hospital having my gall-bladder
removed, and heavily sedated at the time!)
I was able to visualize the surface of the sun from Sunscape. The sizzling is
the effect that did it. All three songs were very mellow, and the last two
might have benefited from a stronger ending statement. But, definately the most
professional, and likable of the tape in my opinion. I'd buy the album, and
like it.
Tom Benson
Jenny's Lulliby - Classic, and clean with excellent instrumentation.
Familiar in some way, but I guess lulliby's should be.
Fatboy and Chubb's- The most creative and unique song on the tape.
The vocals were especially suprising, and sound 'theatrical'.
Very good characterization in sound, and the 'BEST ending'
on the tape. (I love that low groaning end (is it a Tuba?).
Rick Coccoli
Everyman - The beat caught my attention immediately, and kept it.
I very much liked the sitar-like sounds, that lead much of the musical
statement. The vocals were excellent, with interesting semantics in
the lyric. I found the sax to be absolutely killer. It was real
(I mean acoustic) of course, wasn't it? If not, I want to know how it
was done! Wow.
Autoerotica - Nicely done, but just not my style. There's that Sax
again!
Edd Cote
Rumble - This was Spyra-Gyra sounding to me. Nice lead lines and
a good mix. Tastey pitch bends. A little weak in the middle, but
it recovered nicely at the end. It worked for me.
Tom Janzen
I quickly wrote a C++ based music appreciation program, and let it
listen to these passages. It loved these three tunes! Unfortunately,
I didn't much. I don't really understand the value of
auto-composition.
The piano concerto was too random, and lacking of melody.
I must admit that the more I listen, the more it grows on me.
Gameland was better, with more appropriate instrumentation.
More listenable. Kind of like the Maxwell House Coffee Jingle!
I would have named Jam2, the "Battle of the Ethnic Robots"!
Okay Tom, I'll admit that this is very interesting, if not quite
commercial music yet. Please keep trying, and keep submitting
this 'real commusic'. I have to think about it some more.
Bill Grundman
Disco Very - Good melody. Some
odd instrumenation (My notes say fa*t like sounds?)
I gotta see If I still have those gold chains around still!
CBabbage - Simple and pleasant. Odd ending?
Clocks are Skiing - A simple creative melody with suprises. Your best.
Fist Full of Fives - Listenable, with some disturbing change-ups.
Energetic. More power needed in crashes.
And another bizzarre ending.
Air Gap - Some moments, but inconsistent. Sounded Equipment limited.
A good premise, but needs different instrumentation. Of course,
it is easy to be critical. This is better than anything I
have ever composed.
Eirikur Hallgrimsson
Rain - Full of imagery and power. False Endings.
Triumph - Beautiful but dark. Some excessively percussive sounds.
Michael Wolfe
Midnight Vibrations - Percussion too random for my taste.
I can hear the harmonic possibilities, but
it doesn't come togather for me.
On Top of It - Undisciplined.
|
| 2550.5 | | SALSA::MOELLER | hoards Post-It Notes (tm). | Tue Feb 05 1991 12:37 | 134 |
| Wow. Volume EIGHT. Many, many thanks to Brian Rost for hosting this,
especially as he didn't make room for any of his own work. The audio quality
is good. I make no claims to have perfect pitch, but listening to my own
pieces, they sounded flat and slow. And indeed, they are between 1/2 and a
full step flat. And so are yours, probably. This review is a bit tardy, but
I got distracted by a Dread Zeppelin tape in my car for a few days. - karl
RICK RYEN
Points to Rick for covering well-known tunes by a rock master. Points off
for not personalizing the tunes more. Though since covering Hendrix is
quite a stretch for most musicians, maybe I ask 2 much.
Foxy Lady
Drums worked well. Really good ensemble feel. The vocal didn't work for me
- Jimi's phrasing is so individual that this sounds like a parody at times.
Overall a good cover effort.
Fire
Ditto. There are a few places where snare rolls sound like a typewriter - too
regular. But you knew that.
Riders on the Storm
A bit long. Good vocal, emulates Morrisson quite well. The one-and-three
snare made me wonder if he was going for a reggae feel at first. Sustained
out-of-tune guitar drones detract, but are the only original touches.
KARL MOELLER - modesty forbids.
TOM BENSON
Jenny's Lullaby
I liked the development. Interesting non-rock arrangement. Piano sounds
just okay, a few rough spots, but no major problems.
Fatboy and Chubs Theme
Fun, tight. Lyrics in both the the chorus and verses are buried, except for
"AND CHUBBS", and I didn't take the time to put on headphones to suss them out.
RICH COCCOLI
These may be my favorites on the tape. Professional and open sounding. Loved
the sax. I'd like to hear more; how much have you guys got so far ?
Everyman
Okay start. Enjoyed the lyrics. Great change-up, sort of open and oriental,
for the instruments and percussion behind the chorus. Especially liked the
instrumental middle; lots of good ideas, well played. Excellent melding of
acoustic recording (sax, guitars, vocals) and synth timbres.
Autoerotica
Ditto, but the lyric didn't work as well for me. It did sort of paint a
picture of a chrome girlfriend. Liked the sax break.
EDD COTE
"Rumble" - written by Chick Corea
Tight, well done, impeccably programmed. Other than not liking the electric
piano timbre, a favorite on the tape. I'm not familiar with the original,
but would bet this is pretty close. Kept wanting to count it to determine
the time signature, but my body didn't care.
TOM JANZEN
o Piano Concerto 6:00
'50's and '60's university computer music bleeps live. I don't get it. <FF>.
o Gamelan 3:00
I liked it. The timbres match the content. Harmonic content is nil, but
the fast tuned percussion is fun.
o JAM2 3:00
A DADA berserk Erik Satie march on acid, except the music is played by
screechy synth timbres.<FF>.
BILL GRUNDMANN
3:08 disco very
Upbeat - it worked for me. I liked the tightly sequenced syncopated tuned
percussion that comes in, and then it opens up with a bell cymbal on the
backbeat. very nice.
2:13 CBabbage
A mostly unsuccessful attempt at parts writing. Didn't work for me, but
points for trying another idiom.
2:50 clocks are skiing
At first I thought this piece mannered and over-quantized. But it is
evocative in a robotic sort of way.
2:05 A Fistful of Fives
I thought the five feel worked fine. I liked this one a lot, especially the
organ sound and solo. The lead showed good chops, unless he step-time-entered
it, in which case I take it back. Too short!
3:05 air gap
The harsh and uncompromising synth lead tone was distracting. However, the
melody was striking and the chord changes interesting. Again, lots'o'points
for working outside common time.
EIRIKUR HALLGRIMSSON
Rain
I The Storm
II The Meaning of Home
III Coda
Lots of points for working in a tone poem / orchestral sketch idiom. I wanted
to like this, and for the most part it's okay, but it's very clear that there
is no overdubbing or additional lines for harmonic interest, and that any
variation in the arrangement is due to MIDI layering. Too much use of
low/dark string timbres and blapping low horns. Great titles.
Triumph
This one wants to jump up, but is hamstrung a bit by the same recording
technique as "Rain", and isn't saved by the MIDI tambourine. I hear one
and one only keyboard performance, and no additional lines. Both of these
show a lot of promise. It's encouraged me to revisit several uncompleted
tone poems of my own.
MICHAEL WOLFE
Midnight Vibrations
The chord progression is okay, as is the recording quality. He doesn't do
much with the progression, however, it's a basic guitar and synth pad. I found
the toms (and later the cymbals) to be distracting - they don't contribute to
the forward pulse of the piece, and the side-to-side delay didn't work for me.
The rhythm wanders somewhat - no pretense of tightness. No discernible
melody. Piece goes on too long without new movement - something I know I'm
guilty of in "Sunscape".
On Top Of It
No melody. The phased Rhodes and drums are tight, but the organ punch chords
seem to have been recorded in another room. These show promise, and good
attention to timbres, but the lack of melody and development is points off.
Mountain Awakening
..is missing on my tape.
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| 2550.6 | after 4 listens..(almost) | GLOWS::COCCOLI | still monitoring reality | Thu Feb 07 1991 21:20 | 128 |
|
I'd just like to say it's been a pleasure (at least for me) to be able to
share a C-90 with such (in)famous noters. Special thanks to Brian.
As for the review. I'd be lying if I said I liked everything on this tape.
Some material I couldn't even play all the way through. But I appreciated
everyone's efforts, regardless.
Rich Coccoli
Rick Ryen
Foxy Lady
The vocals bring to mind Jimi meets Capt. Beefheart. But listenable.
The guitar could use a little tightening up in both Jimi covers.
Fire
As someone who has already sequenced this song, I can say that you got all
the really signature Mitch Mitchell drum fills wrong. Some nerve I got, huh?.8)
Also you didn't use those ninth chords that *make* the chorus. Jimi's spinning
in his grave like a cornish game hen on an overpowered rotissarie. 8^)
Riders on the Storm
I'll agree with Tom. Some real hurtin' guitar on this puppy. I never
liked the Doors. I was into the Electric Prunes at the time. Sorry.
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Karl Moeller
Ripping Off the Monks
One of my favorites on the tape, although a tad too long.
Reminds me of a song by Nico. It had lyrics which she sung in the same scale
as Karl's monks do. Ommmmmmmm
Relentless
Driving. What Tangerine Dream would do if they were good as good
as you.
Sunscape
Love that ultimate reverb bass drum. BOOM.
Kind of makes you feel as though you're lying on the surface of the sun.
The sample + hold is you frying. But it does need more of a climax.
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Tom Benson
Jenny's Lullaby
Pretty, although long. It seemed at the intro and ending that you were going
for that musicbox sound, although it is hard to achieve.
Fatboy and Chubs Theme
Great stuff. Vocals, which were extremely Devo-ish, could have been louder
in the mix, imho. Many a hearty chuckle. Thanks.
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Rich Coccoli
Everyman
Too much chorus on the guitar..it warbles. Vocals too hot. Synths too low.
One of the sax tracks cracks on the resolving ending. C'est la vie.
Autoerotica
Sinister?. It's a happy song. I should have put a faster attack on the
resonant synth patch. I always find something to gripe about. 8)
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Edd Cote
Rumble
Wild rhythm programming. Lots o' work. Congrats.
There are a couple of drum voices in there that just don't sound realistic,
imho. Being fairly new to CM, I haven't had the pleasure of hearing Edd's
chops before. Pretty impressive. So *that's* what a TX81Z sounds like in
the right hands. =8^}
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Tom Janzen
Is it music?. Is it musak?. Speaking for myself, this musac definately
causes an autonomic reflex manifesting itself in a spastic jab at the
FF button.
Piano Concerto
Just doesn't do anything for me. Unmercifully long.
Gamelan
Interesting, but things like it (but better) have been done before.
Jam2
Grating at any volume.
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Bill Grundman
disco very
I have mixed feelings about this one. It definately doesn't go anyplace.
A melody to hold on to would have been nice.
CBabbage
A shorter version would have been more palatable.
clocks are skiing
Downhill or Cross country?. A fun little ditty.
A Fistful of Fives
Although I liked the rather Brufordesque handling of the time signature,
I found both this song and AirGap relying on some rather boring gothic
chord changes, ala Tony Banks. Ever hear his album, "Bankstatement?". Crap.
Air Gap
Syntho fluff. But listenable.
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Eirikur Hallgrimmsson
Rain
Both songs were an ambitious, well executed departure from the CM norm.
I don't know if it's the quality of my tape, or the synths, but it doesn't
sound very realistic. One lone voicing, in a certain movement, actually
sounds like the foghorn on the Staten Island ferry. 8^)
Triumph
I enjoyed this a bit more than Rain. Those "triumphant" little k1 blasts
really made it happen.
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Michael Wolfe
Both songs had a nice blending of instruments/sounds.
Midnight Vibrations
One of the most "atmospheric" songs on the album, although a little too
nebulous for my taste.
On Top Of It
I'm sorry. It's probably me. There has to be something that jumps
out of a song..any song.. and GRABS you..for me to like it. I'm
not talking volume, or virtuosity either. I don't have a word for
it. You know what I mean. 8^)
Mountain Awakening
didn't get in either......
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| 2550.7 | Get me back on COMMUSIC IX | NWACES::PHILLIPS | | Fri Feb 08 1991 17:04 | 133 |
|
I have had this tape a while now and listened to about four time at
least. While I like peolple to critique my playing and compositions
as honestly and harshly as they feel, I am reluctant to critique
other because I have been told that I am a little brutal. I intend
to submit some of my stuff for the next tape, I was late this time around
and did feel the quality of the mixing was not up to par.
So I will be honest without being brutal with my comments and suggestions.
On with the slaughter, eh, ahem, review:
Rick Ryen
Foxy Lady/Fire: A very good cover of two classics. I thought the drums
were well done however the vocals were a little weak only for the fact
they tried to copy Jimi. The bass sounds too metalic/synthish, if you are
going for a a carbon copy. The song were fun to listen to.
Riders on the Storm: The only song on the tape I haven't listen to in it's
entirety I never did like the original and the drums on this version
just threw me...how about doing a reggae or soca version.
Karl Moeller
Ripping of the Monks:Probably my favorite or one of my favorites on the
tape. Everything works well, except the drums. The drums were doing a nice
rythm in the beginning but as the song progressed the drums started
to sound like the drummer was taking a solo, and it disrupted the motion and
feel what was going on, I didn't think it connected with the other stuff
that was going on, like a lousy drummer on an ego trip looking for attention.
I really like the use and placement of bass guitar notes, that was very
effective. Still one my favorites. (keep the drums the same all the way thru.)
Relentless: Very well done and I enjoyed listening to it also. Difinitely
on par with other stuff in its genre.
Sunscape:This piece just seemed like it was not sure what it wanted
to be. The drums tooks out off and then droped and nothing moved. It
kinda just made promises and never delivered I was waiting for
the rest of it................oh, well
Tom Benson
Jenny's Lullaby: That's a lullaby if I have ever heard one, gives me that
relax feeling when I hear it. I liked the instrumentation a lot, I didn't
think it lacked or need a toy box patch. The section with piano and bass
had a very latin/salsa like feel especially in the bass and I didn't think it
quite fit in with the rest of the piece, but then again what the heck do I
know.
Fatboy and Chubs Theme:Sounded a little like the Batman theme (TV series)
that I so dearly hate (had to play it back in the sixty's). However, I
liked this much better extremely well done and effective.
Rich Coccoli
Everyman:Very good and again compares well with the stuff in the genre.
I just didn't care for the vocals sounded kinda prentious/contrived to me
however, it better that lots of stuff I have heard on the radio.
Autoerica: Sounds like stuff I hear on WFNX in Boston. I liked the bass line
a lot I also like the drums, the lyrics are superb the arrangement is
great, push this song guy it has that special hit quality. Again I didn't
care for the vocals but the song is so good, it overcame the vocals. One
of my favorites on the tape.
Edd Cote
Rumble:YES...YES...YES.. I gave it a ten, I am obviously being bias as
that's the kind of music I listen to the most, Jazz fusion. Well actually
I can't find a fault with it expect if Edd had composed it I would have
given it a twenty out of a possible ten. I have not heard the original,
so I don't know it it an attempted clone or there is some original
playing in there. I does sound like a group playing though.
Tom Janzen
Piano Concerto: I guess I will have to say the program needs to listen to more
Bach, Mortzart etc to gain a better sense of structureand form. Interesting but
the fun is in the playing as far I am concern so step entry and even
quantization (is that a word) is not my bag, why will I want my computer
to compose?? What's next?... Hmm... Oh no not with my wife you don't!!
Gamelan:Listenable, I actually enjoyed this piece a bit reminds me of
some other percussive stuff I have heard.
JAM2:Where is the jam? May be a better title. This was painful to
listen to. (Another appropriate title). Actually when I am in a
mood for dissonant stuff I'll put this on.
Bill Grundmann
Disco Very:This song did not do it for me, while I like the melody
and chord changes I thought it sounded too mechanical. I liked the ending
a lot though where the layered lead patch come in, that perked my
interest, maybe it should happen earlier in the song.
CBabbage:This got better as it moved along, I did not care for the bass patch,
it sounded too weak to me. OOps I just realize that the got
better part was a different song Clocks and skiing. Well I liked that
a lot , Clocks and Skiing that is.
A fistful of five:Really liked the organ parts but again they sound to
mechanical. Did you play this stuff or step entered it? Absolutely
love the ending. BTW the drums sounded weak, maybe my tape or the mix
also too mechanical.
Air Gap: At the risk of sounding too repetitive - too mechanical.
Eirikur Hallgrimsson
Rain:Sounded really cluttered, I did not care for the arrangement but
liked the melody somewhat.
Triumph:Started off rather nicely but when down hill somewhat at end of the
1st movement. The second movement definitely captured the symphonic feel,
IMHO, that is. The last section with the tympani and something that sounded
like a wind instrunment just did not seem to link with the rest of piece
but then again I like to do that for effect too.
I expected Triumph to be bold, loud and audacious however....
what's in a name.
Michael Wolfe
Midnight Vibrations:I do think ther is anything inherently wrongly with
this piece....i just didn't like it. I kinda like a melody or a theme
to hang on too or something just didn't find it.
On top of it:This did have a melody going but need to be developed a
little more. There are folks out there I know would really like this stuff,
keep on keeping on, guy.
In reviewing this tape I paid more attention to content than sound quality.
I found this tape to be superior in content to COMMUSIC VII. With one
exception being Dave Blickstein's 'Low Calorie Blues' and also a couple of Karl
Moeller's submissions.
|
| 2550.8 | After one listen | BAVIKI::GOOD | Michael Good | Tue Feb 19 1991 17:23 | 24 |
| This is an interesting installment. On first listen, nothing strikes
me as memorably as on some previous Commusic tapes. And nothing is
as annoying as on some Commusic tapes. Despite those two strikes
against it, I liked the tape on first listening and will give it
a few more listens when life becomes a bit less frantic.
I thought Tom's automatic composition pieces were the highlight
of the tape. I heard some of Hiller's automatic composition pieces
years ago. They were pioneering pieces but really unsuccessful as
music to my tastes. But Tom's pieces are interesting and showed me
unexpected potential in this genre. Some of the discussion in
the replies note seems right on the money to me - the industrial
vs. art applications, and the sensation of form with rising and
falling levels of energy. The Piano Concerto worked the best
for me out of the three, perhaps simply because it was the first
on the tape and therefore was the most revelatory on first listening.
I liked the stretto-like ending on Bill Grundmann's Air Gap piece.
Eirukur's pieces reminded me of the music on Joe Jackson's "Will Power"
album. Unfortunately I didn't like that album much, or these pieces,
but that may simply be a matter of stylistic preferences.
Now to hear these a few more times...
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| 2550.9 | 'not typically' should be 'now typically' | RICKS::SHERMAN | ECADSR::SHERMAN 225-5487, 223-3326 | Thu Apr 18 1991 02:57 | 85 |
| Time for my review while I wait for a batch job. First, generally the quality
overall was really good. There were no "bad" songs. I think that new
submittors might feel intimidated by the quality of what is not typically being
put on these tapes. There was some good stuff here. My free remarks are
going to be worth every cent, of course ...
One trend I am noticing is that with the equipment as good as it is it becomes
easy to let the machines push you around. I think we are, as a group, falling
into the same trap as some guitarists who equate fast riffs and lots of precise
notes with music. We need to learn to hold onto notes longer, add more
intonation, play more than just chord progressions for melodies, spice up
the rhythm tracks. In the past technical proficiency and accuracy was the
thing that separated compositions and made them unique. Now, it's what makes
them all the same. We need to start putting feeling back into the music. It
doesn't mean don't quantize. It just means to put more careful thought into
every note. I think that's why I liked Tom Benson's stuff the best this time
around. His pieces seemed to express the most feeling to me.
We also need to learn to break away from repetitive and predictable chord
progressions and drum tracks. I think that's why I appreciate Tom Janzen's
submissions so much this time. By using the computer, we can get a little
help for breaking out of the traps and ruts we all tend to fall in. There
were several tunes that did not have this problem, but only a few that I can
think of right now. On with the review ...
Rick Ryen
Foxy Lady/Fire/Riders on the Storm: These were good covers. I'm not into
covers, but that being the intent, these sounded good. Just think, had you
done this 20 years ago you could be rich now ...
Karl Moeller
Ripping of the Monks/Relentless/Sunscape: Karl, dude, you're good. Very
consistent quality and, as though I am any judge, lots of chops. Let me
point out a couple of things that I notice, not just in these pieces but in
trends in general. This definitely sounds "New Age". But, nowadays I find
this type of music to sound much the same. It's not you. It's the style in
general. Four-chord repeats with wisps of melody going on with lots of
breathy background. I already stopped tuning into "New Age" radio stations
because of how it all sounds the same to me now. You do it very well and
I'm sure it does or will sell. I wonder though what will be the next step.
Just wondering. "Monks" is one of my favorites on the tape.
Tom Benson
Jenny's Lullaby/Fatboy and Chubs Theme: These are my most favorites on the tape.
Lots of melody and feeling. Delightful. Good stuff.
Rich Coccoli
Everyman/Autoerica: I didn't like the words but the sound was good. I usually
don't listen to words. But, the vocals were very clear. Made me wonder what
kind of hardware you tool around with in the back seat of the car ... ;^)
Edd Cote
Rumble: Good, though I don't have a lot to comment about.
Tom Janzen
Piano Concerto/Gamelan/JAM2: These are the best computer compositions I have
heard, ever. Now, I detest computer compositions. But, these, unlike most,
were listenable. I could hear occasional structures rather than strictly
random stuff. Tom, you're really on to something and I hope you continue
to develop this. There are usually one or two pieces that make a Commusic
tape "important". I think these are the ones for this tape.
Bill Grundmann
Disco Very/Air Gap/CBabbage/A fistful of fives/Clocks: Of these I liked
"clocks" the best. But, they were all pretty good. Not exceptional, but good.
Lots of movement.
Eirikur Hallgrimsson
Rain/Triumph: I didn't really like these, I have to admit. It reminded me
of another problem that composers are seeing in general. That is, we tend
to become infatuated with technology. Sometimes the box sounds so good that
just about anything that goes in sounds good coming out. For me, it was not
as developed, perhaps too monotonous for the kind of power that is really
there. Not to dampen a spirit of exploration, but it felt like there should
be more. It got too close to feeling like a lot of orchestra hit samples
just being fitted together. For now, I'd probably write my impressions off
as probably just not having enough understanding of the purposes of the pieces.
Michael Wolfe
Midnight Vibrations/On top of it: My comments here are much the same as
for Eirikur. It still needs ... something.
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