Reviews for "Salty, Nascent, Just For Me"
permalink Sun, Jan 18, 2009 @ 9:39 AM
One word: Awesome! Well, let’s add two words to that: Sub Pick!!!
Ok, here are some more words: This one sounds great from the start. A splendid musical backing and some fantastic vocals from Kaer. Well done, you both.
permalink Sun, Jan 18, 2009 @ 9:57 AM
I love this!!
permalink Sun, Jan 18, 2009 @ 9:59 AM
Great job. Love the huge drums and fuzz-drenched synth bass hook especially. Hopefully this won’t be the last collab between you and KT, with results like this
permalink Sun, Jan 18, 2009 @ 10:52 AM
Defiantly doing the air drumming over here.
Great combo you and K.T.
permalink Sun, Jan 18, 2009 @ 12:14 PM
Magnificent! It makes you feel like “Larger then Life”. You should do these productions professionally. Make a Music Album.
permalink Sun, Jan 18, 2009 @ 2:56 PM
hard-edged, warm, fuzzed out mix and a great vocal from Kaer. even listening on headphones, the neighbors came over to ask if i could turn it down a bit. so i said, uhhh, shure.
permalink Sun, Jan 18, 2009 @ 3:17 PM
Absolutely wonderful…gutsy and rich! Love it!
permalink Sun, Jan 18, 2009 @ 4:56 PM
Great bit of production and creation of space between all the sounds.
Only reservation for me was that I felt there were key issues between the vox and the backing track but maybe that’s just my lugholes need a bit of cleaning!
Just felt the vox was not sitting in the same key as the backing track. Like off by a tone or two.
Maybe it’s just me as no-one else has mentioned it.
Sometimes in a mix the pitching is correct but the tones get a little distorted by the way the various sounds act on the human ear. No big deal it’s still a great mix!
Took another listen and I think what it is for me is that the arppegiated sounds are moving as they will away from some of the vox at times which for me gives the illusion that the vox is pitchy.
OK I’m bored with myself now!!:O)
As I said Great mix!!
Sure, I’m always willing to hear peoples interpretations and if something just doesn’t feel right, then its good to know about it.
Kaer recorded the vocals over the music you hear… To me, it sounds ok, but its a case of me having heard the pairing of these 2 for the last few days focusing on the levels of the backing and main vox so my attention maybe focused elsewhere.
Honestly, I’m not hearing anything odd, but I do trust your ears so point noted. I’ve had my ears most of my life, so its hard to know whether they work properly… they probably don’t… I’m hearing voices right now telling me I’m an idiot and should shave more than once a week, but I just ignore them :o)
Something that seperates the good musicians from the really good ones is that the really good ones are the ones who keep an open mind and are prepared to listen. Even if the person talking is talking through his ar..
So good on you for keeping an old muso happy!!:O)
permalink Sun, Jan 18, 2009 @ 7:39 PM
Ahh Mr Scott youve made me one happy person tonight—love this—-tis perfect to my ears—-well done to you and ms Trouz.
permalink Mon, Jan 19, 2009 @ 8:32 AM
As always…ur bass lines are just amazing Scott, Love that in this one u used a really nice fuzzz-style synth.
Im sorry I have to say that I agree with RT, there’s an issue between, the main vox, and all the others elements in this mix.
But after all this is a piece of art…
permalink Mon, Jan 19, 2009 @ 1:05 PM
The vox was recorded against the down beat, with the B/U pella at a very high alternate range, and Scott shifted it about a bit, asyncopated it, to good effect, I think anyway. The vocal also changes phrasing style, from very percussive to legato, in and out of the piece, so maybe that is what you are reacting to….
permalink Mon, Jan 19, 2009 @ 4:43 PM
one of these days…
1) I heard the triplets sooner…to open up the post breakdown or lead into it.
2) I wanted the drum loop to go away and be straightened out into whatever passes for a rhythm these days..OR I wanted it to go into free jazz/jungle..or Elvin Jones on a mediocre day.
3) I wanted Old Dog to come in with a cello/viola line based on the synth hook from the beginning , but with some harmonic..umm..harmonic..uhh..stuff.
4) I wanted to give you and KT a fucking record contract ..in 1976, when there was still $$ attached to things like that.
permalink Tue, Jan 20, 2009 @ 8:44 AM
some interesting melodic choices here and intricate melodic layering
permalink Tue, Jan 20, 2009 @ 3:57 PM
10 out of 10.
permalink Wed, Jan 21, 2009 @ 3:34 AM
It’s 1982, and I’m looking at the cover of New Musical Express. Other issues of the magazine get perused by people at newstands in Chelsea who see it as not much more than something to read between “Time Out” and “The Daily Mail” over fish and chips, but I’m in a record store in the middle of nowhere in the rural USA south, in which it’s a kind of lifeline—a sometimes snide lifelife, to be sure, but we don’t pick our rescuers. We just thank them.
This month’s issue is about a curious Canadian band comprised of two recent immigrants from the Ukraine, and two native Canadians from the “new Iceland” Manitoba town of Gimli, but all now living in Victoria and making an improbable splash playing concerts in parks and also intimate gigs in the banquet room of the Pan Pacific Hotel, a venue whose rental is funded by the local Orca Tours collective.
In this particular issue, NME is telling me how this band has a style that is informed by synthpop and prog, but actually goes in entirely different places. There’s a cool quote from the lead singer Erika about how the best thing about being a rocker and a Ph.D. candidate in marine biology is that one is never at a loss for lyrics.
I make a mental note to order the LP from the place in Little Rock that first told me about the Moby Music catalog. When it arrives, I spin it in rotation with Bill Nelson’s “Do You Dream in Colour” Cocteau Records 45, “Unknown Pleasures”, and Roxy’s “Avalon”.
Later, I sell it on eBay to someone who lives on Lake Winnipeg who remembers that show at Whistler, 1984, when Danilo had just bought a new MKS-80 and the band played a slide show of abstract art while Erika danced in a top hat and tails.
In a “where are they now?”, NME in 1990 pronounced them “irrelevant gherkins”, but as the best fan page about the band http://www.saltynascent.com said, if you weren’t there, then you’re just reading it all in translation.
Now Erika has an endowed chair in dolphin studies, and the world is once more a paradise for synths.
A fun mix, which works the melody and lyrics in together. I like things with a bit of prog/synthpop orientation, but here it might have been fun to have a rough n ready break to make sure things don’t feel too poppy. A great collaboration. Y’all would be my lead story in Crawdaddy any time.
permalink Sun, Jan 25, 2009 @ 10:10 PM
This is really great, reminds me of the Cure vs Apoptygma berzerk. Great job on the production.
permalink Tue, Jan 27, 2009 @ 9:48 PM
used your fine file here