ST17.2 Reviews and Rankings - Cybronica

Spintunes 17 Round 2 Cybronica Rankings

1. Cavedwellers - My Unlikely Best Friend
2. Also In Blue - Here On The Wall 
3. Sober - Take the Blame 
4. Good Guy Sôjàbé - Batman's Batman
5. The Dutch Widows - Hold Fast His Name 
6. Jealous Brother - A Perfectly Good Collision Course 
7. Vom Vorton - The Ship's Cat
8. Boy on the Wall - I'm Scared of my Dad
9. See-Man-Ski - We're All Shameless
10. Jon Porobil - Bald, Green, Boneless
11. EmKayDeeBee - Wishful Thinking
12. Giraffes for Wings - Caribou Crosses the Maskwa 
13. Melody Klein - Samantha's Girl
14. Ominous Ride - The Ballad of Poor Yorick 
15. David G Harrington - Starship Man in Red 
16. Pigfarmer Jr - Such Evil Creatures
17. rackwagon - Au Revoir, Mon Fils 
18. Night Sky - Nancy by Gaslight 
19. Dented Bento - Things Are Going Well (Pleakley) 
20. Hot Pink Halo - Mind The Gap 
21. Governing Dynamics - Neil, From Toronto 
22. Regis Michelena - Maclunkey! 
23. Lucky Witch & the Righteous Ghost - The Only Way 
24. Keen Observer - Salem 1693 

• All the Robots - I'll Have What She's Having (SHADOW) 
• Temnere - Go Beyond (SHADOW) 
• Mandibles - Lapis Lazuli (SHADOW)
• Declan IOM - The Saga of Snae Bane (SHADOW) 
• Lichen Throat - Skulker (SHADOW)
• Menage a Tune - Fifteen Minutes (SHADOW) 
• Little Bobby Tables - Red Hood Girl (SHADOW) 
• The Brewhouse Sessions - Cat Rhapsody (SHADOW) 

What were they thinking!?

All the Robots: This song made me laugh SO HARD. I really appreciate the take. An iconic reference. The sexual innuendos are on point, and you have an excellent use of ‘masticate.’ There seems to be a bad splice from the second verse to the prechorus. I love the backing vocals on the chorus (and how they build), the peppy guitar and drums, the perfect amount of slide guitar - it sounds almost like I’m listening to a Jimmy Buffet song. I can hear you smile throughout the song, which has put a smile on my face. Clever lyrics, fun music, perfect take on the challenge, great song. 

Also in Blue: This song is so well developed. I love your wordplay and the way you weave in references to the source material and how they unfold until the listener realizes who you are. And the music is so intimate, so heartfelt; I love how your voice soars on “from here on the wall.” The vocal performance in general is steller; I can hear that it is somewhat processed, but I really don't mind it. It sounds like you're going for a certain sound, and that sound is buttery velvet, not (that I can hear) hiding deficiencies. This means that there was still room for you to emote with your voice. The slightly strained vocal on “oh my god,” the vituperative inflection on “huntsman brought your heart,” the almost whisper on “no one to reflect” - you span an incredible range of emotions with your voice. If you sang gibberish I would still get the loneliness and regret infused in this song. Your music is… enchanting (I will not ask for forgiveness, as puns are the only jokes with valor). But seriously - you wrote a perfect ballad, and I wouldn’t mind if this was on a pop album or in the middle of a broadway show. There’s a perfect balance between you and the piano, makes me feel like I’m sitting next to you on the bench. I even like how you left a long tail of silence on the end of the track so that we have a moment to reflect (I’m not sorry) on what we just heard. Excellent interpretation of the challenge, clever lyrics, beautiful music, top marks. Do you have sheet music? 

Boy on the Wall: … more like boy on the altar amirite?? I like the 90s/early 2000s attitude in this song, works very well with the (justifiably) aggrieved teenager vibe of the lyrics. Overall a great mix, excellent balance between all instruments/voices. This I really like about the song: the echo in the chorus in my left ear, the postchorus riff, the way your voice flips up on the back half of the bridge (that’s a nice touch), how you rhyme intense with descendants. Things I don’t like: jk you did a really good job- you had a sound in mind, achieved it, and it matches the subject matter. Speaking of which, I take this to be a perfect interpretation of the challenge. Great work. 

The Brewhouse Sessions: I like whatever that bass drum sound is on your percussion kit. You sometimes trip over your lyrics which is distracting. A mix of needing to practice more before recording and having more syllables that you have space for. Also some odd declamation - the chorus would have flowed better if Hu of humongous fell on the down beat instead of ‘of.’ So about the teeth. My first reaction is the joke is over done. Upon further listens, it seems to be the entire point of the song, and… I think this misses the point of the challenge. This is from the POV of the Cat Romeo the Actor, not Cat Romeo the Character. The orchestration is one color throughout the whole song, but I don’t mind that since it doesn’t grate on the ears. It’s a good collection of synths. I really like the feeling when you say ‘hello’ at the start, but we dont get that feeling anywhere else in the song. I’m missing that round all encompassing sound of your vocal delivery on that first word. Decent song, ok lyrics, ok vocals, challenge is weak. 

Cavedwellers: YES! FIRE! This is now one of my favorite songs from you guys. It catches your feeling, your style, your type of music, and coalesces in a perfect, bop-tastic, sing along on a roadtrip style song. LOVE. I can’t get over how awesome your vocals sound on that opening line. It's amazingly strong and vibrant, and then when your vocals split into harmonies it melts into delicious meshing with the mix. Then the single vocals come back and I’m like, BAM that still sounds amazing! And I haven’t even gotten to the chorus. When you get into the eponymous hook, I just wanna sing along sing along sing along. I really like how youve spaced out the panning of the instruments - the guitar in my right ear juxtaposed to the clav in the left makes for good balance, and then every once a while they line up melodically and there’s this really cool hard panned unison effect from it. The percussion is fantastic - from shakers in the pre to the tambourine in the chorus, to the great use of toms really puts me into the right time period for a song of this source material. Speaking of which! I like how the song clearly draws from ferris beuller’s day off, but is not just a song full of name drops and plot description. If I heard this on the radio, I could really jam out to this, and if someone hadn’t seen the movie, they could still enjoy the song. Lets talk guitar solos - the post-bridge solo is excellent, but then when the guitar comes back as final chorus descant, that is so exciting. Highlight of a song full of highlights. Great job. 

David G Harrington: love the concept. The chorus great, but, and this is not something I often say, I find the higher vocal harmonies grating. I think it's because they are… well, lacklustre. They’re very unsupported, and that makes the head voice sound thin. Don’t try to be so quiet on them - you can always mix them lower if you're worried they're too loud. The solo instrumentals are grand, really like them, especially the extended playout. I especially like how you use breass as punctuation. This take on the challenge is perfect, exactly what I was hoping for, but I think it could have been executed better lyrically. The text is clunky, the poetic meter is uneven, you rhyme now with now, and the title/hook is a mouthful. I think it would have been beter to just call it ‘man in red,’ and let the rest of the lyrics clue us into the fact that you’re on a starship. 

Declan IOM: This mix sounds much better this week. That said, the vocals are so low I can’t understand them on speakers, and that means that when you do something fun with them, I can barely hear the effects. In fact the whole song is low in the bounce. I have my tv turned all the way up, and I can still barely hear it. It's almost like I’m standing outside the church listening to the chanting through the open door. I see that you wanted to have the opportunity to bring up the volume, which is a cool effect, but I think you started too low. Increasing the orchestration will already have a growing affect. I do like the organ as it grows ever so slowly. It’s a cool effect, but it's very slow in coming. This feels more like a movie soundtrack than a song. The melody is very repetitive, but not necessarily in a bad way - it’s kinda like a sea shanty in feel. But the song is SO LONG that the repetitiveness gets to be too much. And I do think this song is too long. Honestly, this could be Peter Grimes’ mad scene in Britten’s opera of the same name in terms of length and dramatic ethos. <- allthat was a first take. Now I have read your back story and lyrics (and bibliography! And glossary!), and I must say, I am super impressed by the scope of this project. We never said the work of fiction couldn’t be one of your own, so I like how far you let this challenge take you. I see how the synth drone was brought in after the prologue, and how orchestration through the rest reflects the multipart lyric, and this just reinforces my opinion that this is a cinematic piece. I say now - stretch it out, make it longer, bring in more voices and instruments, turn this into the opera that is waiting to happen! The dedication to the challenge is a boost in your rank, if you had one, cause you’re a shadow. 

Dented Bento: Your voice’s contrast from the sprech stimme of the verse to the singing of the chorus is remarkable, in that I am right here, remarking on it. The bridge is also a different tone, and I like it significantly less than the other vocals. You go for quiet, it just goes unsupported. I really like the declamation in this, particularly ‘don’t play hot potato.’ You spit it out so well. The lyrics kinda feels less like the story from Pleakley’s POV so much as a box of polaroids from the trip to Earth, which is to say they are basically individual lines that don’t have much connection to the ones around them. This becomes more true as the song goes on.  You chose a good subject, but I’m not enthused by the lyrical execution. The music is good, and I like the bass line, it’s a good collection of synths, and I like how the bridge tune is woven throughout the song. The end is very abrupt. 

The Dutch Widows: It might be the 6/8, but I’m getting a shanty feel from this song. Could also be the close male harmonies. Where you switch up to 4/4 is a nice change. I especially like where you layer the two meters together. The take on the challenge is great. I love that you used a source material that you have an emotional connection because it really comes across in the music. This is an interesting song where I had a lot of trouble comprehending the lyrics on their own, but when I read them while listening to the song, I understood every word and what they meant/represented. I assume you were you trying to imitate the poetic stylings of Billy Shakes, and I always had trouble reading, but was fine watching, his plays. My point is, it is a truly amazing song when the lyrics and music transcend themselves and find greater meaning when combined. The back and forth on the pannings in the verses is really effective, and the vocal layering in general is excellent. They click in together perfectly, and the intervals you have between the melody and harmony verse vocals are delectable. I think the guitar could have been slightly higher in the mix, but I really don’t want you change the mix at all because it all gels so well. 

EmKayDeeBee: I feel like your voice is pulling punches this week. It sounds like youre worried about being too loud? Don’t worry about that. Support your tones, lower the voice in the mix if you must. I do like when you flip into headvoice in the chorus. That octave jump down is brutal. It’s just barely out of your range and i feel for you, because I too have a high sitting range that bottoms out below the treble staff. I would recommend having the vocal line jump down a smaller interval while doubling the voice with an instrument that can make the full octave jump. The effect where you split into a panned vocal on ‘over and over and over’ is really cool. It makes it all the more evocative when you keep it a single vocal the last time. Is that a real cello, or a really high quality synth? I assumed it was a synth, but upon closer listens, it sounds too real in the phrasing. Either way, its a great addition to the song. It adds a nice countermelody, and I really like how it just sl i  p    s         a    w      a        y   at the end. I like the funky reverb with the moving panning on the harp at the start and end - do more of that! I like the backing vocals a lot, especially the call and response harmonies at the end. The voice talking over you in the middle of the song is distracting. I see why you included it, but while it was a choice that makes sense, it detracts from an otherwise really beautiful song. Maybe if it was louder so that we can hear it? Since its over the chorus we wouldn’t lose your lyrics, or it could have been over an instrumental passage. Beautiful song, good use of the challenge

Giraffes for Wings: Great choice of subject here, and I really like how you got the calf’s entire view in nine lines. The lyrics are succinct, emotional, and jarring when you take them in the context of the song. Really, the music is upbeat, dare I say happy, especially with that high glockenspiel-like synth against the marimba one. I love what you do with the arrangement. The way it ebbs and flows is its defining feature. The synth that comes in on the second stanza has kind of a foreboding feel to it, as does the backing vocal in the middle of the song that sound like they might have reverse reverb on them, or are brought up gradually in the mix. I like how the instrumentals fall out on “heat of the whole summer” and then pops back in with that interesting vocal effect. I want a touch of reverb on the vocals because I can hear the room you are recording in, especially on the first line. I actually really like the stark contrast of the emotion of the music and the text. Good challenge take, good music, good lyrics, good song. 

GGS: Great groove. I LOVE how you use your voice on this track. That prechorus is such a devious sound that matches the source material very well, and the chorus is croony and singable. Your voice is perfectly suited for this, and I love how you use vibrato as an emphasizer. And the lyrics! Not only did I hear them on the first listen, I comprehended them and they are so clever! I love how much you have chockablock filled them with batman references. The vocal on the prechorus is my favorite part, by virtue of the amount of attitude you sing into it. People liken you to bowie, which could explain why I like your vocal on this so very much. The piano on the chorus is a nice touch, adding some treble to an otherwise bassy song, a much needed contrast. The spoken bit on the middle 8 is great. I especially like “...what??” It was pointed out that Batman’s Batman probably wouldn’t be pronounced the same, but it is the only criticism. (just circling back to say that the piano is a really good addition)

Governing Dynamics: Love the source material, but this song kinda feels more like a summary  of Scott pilgrim rather than the story from Neil’s perspective. Like, you could have had the song be more “Where the hell is our bandmate?” Basically, why couldn’t the rest of the lyric be more like the playout? You did do a great job of make it sound like their band (or at least what I imagined the band sounded like when I read it). By virtue of the song being a laundry list of plot points, it gets a little rambling. Even the music rambles, and its not great. I like when the song finds its way again (We all agree... , This will not stand…), but then it loses it again. The bass line is great, which makes sense given he’s a bassist. 

Hot Pink Halo: This lyric is really beautiful, and based on a book I love, so good onya for taste in literature. You do a good job of including references to the book that are little easter eggs. You can enjoy the song if you haven’t read it, but if you have, they add a little something to it. The wording for the chorus is especially lovely. “Never there” and “I’m upside and I’m down” are phrases that I particularly like. Your vocal delivery is intimate, if at times just a little pitchy. I think you could benefit by learning to hook into your chest voice a little more - you skate around it sometimes, but having it available to work with as needed would be a valuable tool in your belt. Your head voice is lovely, but it can be fun to play with new parts of your instrument, and balancing head voice passages  with chest voice or mix ones could open up more expression options for you. 

Jealous Brother: Out of a challenge full of clever takes, this is one of the most intriguing. I love the idea of applying a ‘redeem the villain’ concept to a movie where the villain was an inanimate object. You break the fourth wall in the back half of the song, but I don’t mind this here, as the subject was already ridiculous, so it just falls in line with the silliness of the song. That downward guitar riff is somehow also silly, matching the lyrical tone of the song. In general the jauntiness of the song really comes through the music, especially the hard panned trading fours guitar solo. Good vocals, love the harmonies in the chorus. The doubled vocals are perfectly lined up and in tune. Fun song, good work. 

Jon Eric: A sweet G&G. That transforms! I like that moment a lot, particularly how you bring it in with the drone crescendo, and going into a whole other band puts a theatrical flair on this song that tickles my fancy. The middle section is made doubly  special by the G&G that surround that section. And then the way you get out it is perfect. Your voice does Kif’s despair well (and your brother(?) makes a good Zap). Speaking of your voice, great singing here. Again, the contrasting sections really show what you can do. I love the motion you get on “I can punch my stupid boss in the face,” and the soft sections really capture the essence of Kiff’s personality. Also you had me at the J Alfred Prufrock reference. And then you brought it back! I like how he compares himself to J. Al P (and the spineless line is great). 

Keen Observer: I feel like this song is 70% drums. The rest of the instrumentals just feel very low in the mix. I think however, that might be the style you are going for? So I don’t think I can fault you for it. Your vocals stick out because of it, though. Speaking of which, the verses are very low in your voice, and in that part of your range they lose something important. It just doesn’t match the energy of the rest of the song. Maybe overdub at octaves? Even if it got close to scream metal, it would have worked for what you have. The lyrics have good use of close internal rhymes as well as interesting slant rhymes (ennui/Emily), and they do tell the story. I like the ‘waiting and waiting’ etc hook, but sometimes your delivery sounds more like an extended recitation than a musical like. The beginning of the song feels very abrupt, like you just started the loops instead of just started playing. You met the challenge, but this song feels like it's just not quite coming together. 

Lichen Throat: I love what the guitar is doing on this track. The instrumentals are your signature sound, I like your sound, so they get a plus from me. The vocal is pretty good, but 1 complaint: the ‘Keep Fast/Good Boy Skulker’ hook doesn’t ever seem to align on the down beat for this, and it makes you sound late everytime it comes about. Great take on the challenge, and I like the lyrics a lot. They have a good flow, and are very descriptive. Good song

Little Bobby Tables: Aside from the drum machine, the instrumentals are way too low. Turn them up in the mix, and then throw a little reverb on your vocal to match the feel. It’s just a little close at the moment. I like the concept of the song, and i like how you wrote the lyrics to be a little vague, but clearly RRH’s mother’s perspective if you know to take it that way. This might be a side effect of the instrumentals being low, but it sounds like youre trying to keep your voice quiet, and I suspect that its causing your intonation issues when singing. Sing out! If the mix was balanced correctly, this song would demand a more robust vocal take. As it is, the mix is really hurting you here. I suspect this song is a lot better than I think it is. 

LWRG: The flat first line is off putting, and it's too bad because your vocal sounds really good on this track (you have a Wendy Malick sound). It just really needed another take in some parts, because when it is good, it is very very good, and when it is flat, it is jarring. Unfortunately, the jarring parts draw attention to how exposed your voice is in the mix. I think it could be slightly lower, just to be absorbed into the music. The solo section - What is that “weeohweeohweeoh” synth? It sounds really cool. I will say that the music is pretty cool. I felt moved to dance. The bass stands outs as particularly good. The chimes sound in my right ear gets old fast, though. I would have liked it to be either more rhythmically interesting, or used more sparingly. Mal is an interesting take. Is this to be the real Mal, or the part of Dominick’s mind that imagines her? Its not clear in the lyrics, and maybe that’s the point, because he can never tell either. I think this song has potential, but you needed a few more days to get it right. 

Mandibles: Us! I am really glad with how the reverse reverb came out on the intro. I do think the mix could have used some more tweaking, particularly the vocals. They sound fine on headphones, but on mono the hard pan of “so I just let go” gets super loud and unbalanced sounding. I also think everything could have been a little louder when the instruments come in after the voice and piano section. I also think the guitar solo is a little more cavalier than I would have liked. Maybe needs to be just a little more retrospect. 

Melody Klein: I really like the vibe of your (2) songs. Its serious easy listening in a non-new age sort of way. I affectionately term this kind of music as “driving through a city at night” music. Pop this on at midnight, drive through the stillness and the lights passing over you… smooth driving that you stay awake for. This takes a bit of the edge off of how long this song is. It’s meditative, and you do a good job of layer your synths and changing up the orchestration to keep it interesting. Also, the chip tune sounds are delighting my nerdiness (reminds me of metroid prime echoes and starbound in particular). Tied into the chiptune elements, I really like how you use autotune as a vocal effect to get the robotic sound, which matches your take on the challenge. This is a good take, and I love the reimagining of stories with queer subplots, but I’m not a fan of the fourth wall breaking. Specifically, “Remember Samantha from the movie Her?“ I think you could have just mentioned Samantha by name, and then made a comment like, “Her circuits turn me on” or something so that we make the connection that Samantha is an AI. Main drawback: though better than last week, it’s still hard to hear your vocals. And it’s long, but as addressed above, that odeon;t bother me so much. 

Menage a Tune: THANK YOU, someone finally said it! Romeo, you dumbass why didn’t you get help? I love the epic backing track for this. The instrumentals need to be brought up in the mix, and I want there to be more support under your voice. My ear wants a more classical breath support for such an awesome song. Really, it sounds like a grand opera aria, and I want you to sing it like one. Right now it sounds like youre just trying to stay up to tempo, which fair, you only had a week to write and record this, but once you get past that point and can sing it confidently on the beat, I want you to take some deep breaths, and give this some really classical belly support, maybe even some vibrato, because this song is begging for it. The instrumental track is so epic, I want to voice to match. 

Night Sky: Oh MAN THAT SAX. That saxophone alone is bumping you up a couple places in my rankings. It’s so good, even when it's just doing pads on the verses. And then when it soars up high with a little flourish, it's so exciting. And the solo was just phenom. The way you set the lyrics breaks up the poetry and makes it harder to follow when not reading along. “I knew men were men in shacks or mansions “ is an example of this. I actually find the lyrics to be lacklustre, and the vocal delivery is decent, but gets pitchy at times. I didn’t notice this at first because I was hung up on how good the sax is, but upon repeated listens it start to stick out. I do like how you set the chorus, and how you sing on it. Best part of the vocals for me. 

Ominous Ride: I like the spoken word intro. Let’s talk about our singing, specifically how you sing the words (I’ll talk about the lyrics in a moment). You sing e ver y syl a ble in a dis join ted man ner that de tracts from your mel o dic in ten tions. The vocal line needs more connection through the line of the song. This is something that happens with instrumentalist turned singers. Its not enough to sing each note, you have to make them work together into a cohesive part. This is especially important for this song because you wrote really amazing lyrics. They are poetry, full of vivid imagery and poignant acceptance of poor Yorick’s situation. They are done a disservice by your vocal delivery. The music is lovely, very dreamy, and something about that guitar puts me in a trance. I like how you bring in the string synth as a countermelody. It’s a great take on the challenge, and the take and lyrics have you high in my mind, but that vocal delivery affects your rankings. 

Pigfarmer Jr: This solo is great; I mean all of your guitars are great. They do the driving force of the song really well, and make me wanna bop my head up and down. The driving guitars and hard rock sound is a great match for grendel’s story, and the lyrics match both Grendel’s mind set and the style of music you are writing for. I have a comment that is uncommon from me: I think your vocals are too pretty. I want a little more attitude and guttural affect in your tone. As it is now, the vocal just doesn’t feel like it matches the rest of the song. Otherwise, great music, great take on the challenge great lyrics, pretty and very accurate vocals need a little dirt rubbed in to make this the metal song I want it to be.

Rackwagon: this is dreamy. I like the tone of your guitar in particular. Am I picking up musical quotations from sound of music? Sounds like “So long farewell.” Is that… accordion? Great choice of instrumental solo. It reflects the morose feel of the song well. And now that I’ve read your background and lyrics, *whoof* this is a sad song. This is tragic, and you’ve brought that across well in. I was going to say that it might be a little too much in one direction for the whole song, but I think that was a conscious choice and the correct choice. 

Regis M: When I first heard this, I was like, “I don’t understand, Greedo doesn’t say Maclunky. Who is Maclunky?” Then I read your description, watched a compilation vid on youtube, and one facepalm later, I get it. I really like the organ synth you have going on this track. I think your vocals might be just a little too hot; they're floating on top instead of being nestled into the mix. Similarly, I want the guitar solo brought up! They seem muted. The vocal is pretty good, but it sounds like you're so focused on getting the words right that you're not thinking about the melody. That’s just something missing in your delivery. This is magnified when you quote Greedo - the doubled vocals expose where you don't line up pitch wise. 

See-Man-Ski: the first two lines sound like an homage to don't stop believin, but then it moves away from that pretty quickly. I like your use of repetition with the lyrics, turning the back half of the verses into a prechorus. You did a good job with the piano! I like the mix. You have the right filters/reverb/doubling/whatever you used on the voice; they let the vocals blend right into the instrumentals. The harmonies brought out in the pre is a great way to build into the countermelodies they have in the chorus. The bass is a great sound. I like how prominent it is in the mix, and I like how it has its own line and isn;t just a series of chord roots. I dont watch shameless, but your song and background give me a very good idea of whats going on. This song stands alone well, too, which I think is a plus. I wouldn;t be surprised if I heard this on the radio. 

Sober: BANJO! ...Or Mandolin? Love it. Your vocal is so… impressive. A raw son of Mumford at the end of his rope. This song is ominous, and the vocal adds to that. Even when phonation falters, it feels on purpose, like its just part of the character (which I suspect it is). Its a fabulous take on the source material, and very fitting as I write this review during holy week. As i read your lyrics, they are actually much more succinct than I thought. Just goes to show that you have emulated “less is more” here. Also helps that you chose a rather famous story for your source material. The bit at the end, where you drop out and then do the last chorus with sparse instrumentation sent shivers down my spine. I love the bass end of your voice. And then the way you fade out your voice at the end is phenomenal. This song is well sung, well orchestrated, well written, well conceived. Well.  

Tenmere: Love the speed metal drums. The extended instrumental intro and interludes are invigorating. There’s no other word for it. The change up at the end it a good change of pace. I wish the brass wasn’t quite so midi when the rest of the song sounds so acoustic. I am not familiar with the source material, and there wasn’t much to find with a google search as far as summaries or character descriptions go. I have no idea how this song fits in with the challenge! DQ’d!! Jk youre a shadow. I do really like the song on its own merit; though I think there is some genre bias here because everytime I hear your music I get a big stupid grin on my face and start dancing badly. Your vocals are great, and I love how you are able to soar into your upper registers. 

Vom Vorton: This song is hilarious. I love your choice of character to POV. I like that it’s not just a recap of the plot; your lyrics really feel like they’re from a cat, “I’ve spent too long chewing cables” in particular made me chuckle. Good instrumentals; the bass in particular jumps out at me from the mix, a good combination of bass movement and melodic direction. My favorite part is probably the bridge - a good change of color, good vocal harmonies, funny lyrics. I’m sorry I don't have more to write - this is a good song, well sung, well written, captures the essence of what you wanted to communicate. Good work!