After All
Aug 2, 2020
Ryan
Word Warps
Had a lot of fun with this. Great assignment, Darcy. Ended up being inspired by some of the dialogue surrounding Zack’s submission to the previous assignment re: loving a rainy day. I think I both stuck to and betrayed the ‘mode’ parameter, but learned quite a bit in the process. Having a good time listening back to this and wondering whether I should consider continuing to build this kind of sound world—there’s a lot of foreign territory in here for me.
I suppose nothing really goes on here. But you should know I’ve always loved the nothing thing.
Man, I hope it rains.
So I can show you what I love most in the world.
My god, I’m the same as I always was.
Lost the day. Can’t have much of a good thing. But I’ll spend my life trying to get it back. Always after all.
Can I please show you what I love most in the world?
My god, I’m the same as I always was.
Can I let go of all the things I love in this world?
My god, I’m the same as I always was.
Looking for feedback on
How's the energy working for you? What about the emotional territory? Do you feel it evokes anything for you or does it miss the mark? Does the sparse vocal leave something to be desired? Considering going bigger, adding harmonies, higher octave stuff, etc. but kind of ended up liking where this performance sat in the environment.
Discussion
trumpeteer123 August 13, 2020 12:49am
gives me a nostalgic and slightly frantic feel but not in a bad way? I like the juxt between long vocal rhythm and fast rhythmic accomp.
nick August 12, 2020 10:02am
big fan of this vibe for you. synthy bright unapologetic. i think the energy is great. i love the vocal. perhaps mixing it slightly brighter? fiercer? more of an 80s plate reverb? the vocal take feels slightly dark and moody, which i love in contrast to the rest of the music, so i think combining a slightly moodier take with a brighter funkier vocal mix/effect may be primo.
alechutson August 6, 2020 11:30am
I really dig the energy of this piece. Sparse vocal arrangement works for me. Energetically, this feels more like the excitement of dancing in the rain rather than introspection, but that in itself adds a layer of meaning in the interpretation.
Ryan August 6, 2020 12:36pm
Thanks, Alec. Yeah, speed + introspection has become interesting to me.
nurphgun August 5, 2020 3:29pm
I loveee this. In terms of emotional territory, I’m getting feelings of maybe homesickness + acceptance of the inevitability of time passing/life doing it’s thing, and if that’s what you were going for, I think you really hit it. It’s really powerful, I’ve listened to it a bunch of times. The overall shape and progression is really satisfying. Except for maybe the drums, it reminds me of Junip. I like it without harmonies. One suggestion is to maybe use “my god” only once, as opposed to using it each time that phrase appears.
Ryan August 5, 2020 5:39pm
That’s a good suggestion! I should keep an eye on lyrics that repeat when they ought not. I feel like I’ve been guilty of that many times before.
And great—yes, this is definitely about dealing with inevitability and homesickness. Also re: homesickness—I always find myself writing about the feeling of missing something when it hasn’t even gone away yet. Anyone else?
Junip has been big for me ever since I found it THANKS 2 YOU! Glad some of that driving quality came through. I think it’s more in the choruses than the verses. But I’d like to keep exploring this direction. Feels good.
Ben August 3, 2020 1:13pm
Ah yes, I thought I remembered you hinting that you might have a “fast” song up your sleeve. This one starts and I’m thinking “Ok this can go either way in terms of speed. Let’s see what happens if/when drums come in.”
Then the beat drops and the song starts moving and the beat really supports the arpeggiating of the chords. And when the tambo/percussion drops in I feel like you set a personal record for RAW SPEED in your songs (at least ones I can think of).
This is a great departure because it combines programmed electric drums and fairly chirpy indie instruments with the generally spacious, wet soundscapes that I’d become accustomed to in your work. This one is of course a little less spacious and wet than your other work (the drums are smaller and crisper, and some of the instrument tones are more precise sounding), but it’s also maybe the least person-playing-guitar-in-a-room of your work too. Maybe because of the speed, programmed nature of the drums/perc, instrument choices, and general complexity of the song that punches you in the face. Also, don’t get me wrong re: wetness – this song is still very damp. It’s moist, and well-lubricated. It lives in Wetland, but it’s just a little sonically tighter than some of your wetter songs.
The little electric guitar that jabs into the mix at 1;24 is stellar, same with the snare fill at 3;00. Really exciting bass work in the chorus section.
I’d say this is an example of a finished product NCBC song. Will be continuing to listen.
Ryan August 4, 2020 1:06pm
Definitely a PR in the speed category. It’s my version of the Peloton.
Yeah I’m glad that blend of dry/drive-y electronics and wetter indie stuff worked for you. I think it’s close, but not quite there. But I’m starting to think where it doesn’t work is more compositional, less arrangement. But yeah, psyched the no-band-in-a-room quality came through.
Carseat August 3, 2020 8:28am
Oh wow I love what you did with this.
Ryan August 3, 2020 2:58pm
Thanks! Nice assignment.