- Mandibles
- Regis
- SunLite
- Phlub
- marlon.
- L.J.P
- Quazimodo's Balls
- Roman Numeral Orange
- Stephen Weigel
Here are the full results:
Judges' Reviews:
Sunday, March 27, 2022
ST19.1 Results and Album Link
Judges' Reviews:
ST19.1 Reviews and Rankings - Matthew Keeler
Matthew Keeler's song reviews
(Sorry I'm late!)
ROUND 1:
1. Also in Blue, "A Good Man (But a Lousy Wizard)"- Personal, heartfelt, well-crafted lyrics. Excellent production quality. Excellent singing and musicianship. Great arrangement. Believable expression of the character's emotions. If I had a criticism, it would be that the form and harmonies are a little cliche and predictable for my tastes (I'm not generally a fan of Broadway music, and this sounds a bit like that) but the lyrics are so great that it doesn't really matter. I'm totally drawn in. Thank you! I will likely follow your music after this competition.
2. Hanky Code, "Secret Lair" - Fun rock arrangement. The concept made me laugh. Criticism: It sounds cliche and lacks in nuance and expression. It sounds a bit like a car commercial.
3. Pigfarmer Jr., "Sitting Silently" - Your vocals reminded me of The Dead Milkmen, a group I love. That sound and style of vocal delivery, however, is one that I associate with comedy, sarcasm, and satire. With that style of singing, you delivered a serious folk rock song about domestic abuse. It took me a minute to settle into that. Also, the lyric was objectively written, like some folk balladry I'm used to. It was not poetic, metaphorical, personal, or overtly emotional, but a concise, journalistic depiction of an event. That's accurate, but not as expressive as I would generally like in this style of music. Musically, it's fine. It works, I'm just not bowled over by it, and the lyrics don't impress me as much as the topic. That's only my opinion, though. Obviously, the other judges disagree.
4. Hot Pink Halo, "Invisible Ink" - The poetic metaphor, invisible ink, for things left unsaid in love and relationships is clever and strong. The electric guitar effect has a pleasant, ethereal vibe to it. I find everything else about the song to be mildly boring. Rhythmically, it's uninteresting to me. The production is okay, at best. The vocals are sort of whiny, which can work for some things, but this performance is not very emotive for my tastes. There's no passion. It's just kind of dead for me.
5. Firefly, "It's Juicy" - A song about collecting other people's secrets? I'm still not sure I get where you're going with this. What's the point?…I like the child-chant motive (even mimicked in the guitar!), although it gets a bit grating by the end of the song. I like the guitar interlude. It's musically solid for what it is, indie folk rock. The vocals are passionate, but sloppy pitch-wise. I'm just not sure I get what you're trying to say, and that's a biggie for me.
6. Sober, "Can't Take It With You" - I absolutely LOVE what you accomplish here musically, blending traditional music into your songwriting, not just in the words but in the instrumental arranging! It's brilliant! A slow 9/8 verse moving into a double-time slip jig chorus, and well-played, my friend! You are a gifted musician. And I generally like your voice. HOWEVER, you probably spent a lot of time layering those instrumental parts for the competition and could have spent more time on the vocal production, pitch, and vocal effects. It seems that you have been much more meticulous about this on other songs you have up online, and as a result, those tunes sound more professional to me than this one. Also, for this song in particular, the words are not that gripping. Your masterful music far outweighs your skill with the lyrics, at least in this case. Secrets of a sexual assault, especially an assault against someone you love, should make for striking song lyrics, but there are not enough concrete images here to really draw me in. Why are you telling me about this? Why haven't the secrets been revealed? Why are the secrets so important to you? What's at stake? You have to let us in a little bit, otherwise, there's no frame of reference to get us emotionally involved in your story. If I hadn't read your song bio, I wouldn't even have known what this song was about.
7. Dented Bento, "A Man is a Clam" - This is one of the strongest songs of the first round. The lyrics and overarching metaphor, that a man is a clam who doesn't give up his secrets readily to his partner, are brilliant and compelling. Other interesting metaphors keep coming throughout, each one hanging together more tightly and ringing more true with every utterance. The lyric, the metaphors, and the band name all hang together as a concept. That's a first for me! This week, my kids are singing this song and laughing about it. My wife and I talked about it all week long, too, cracking jokes. No other song was quite like it. That's the drawing power of this bizarre comparison between man and clam! The music is rhythmically complex and tight like a Frank Zappa arrangement. The vocals are theatrically expressive, ribald, and playful, befitting the lyrical content. The vocal delivery reminds me of David Bowie, an artist head and shoulders above most rock stars for his stage dramatics and personality. I can only imagine the gestures and posturing that might take place during a live performance of this song! Keep this stuff coming! I want to hear more. I'll be surprised if all your songs can hold tight with the sushi metaphor expressed in the group's name.
8. chewmeupspitmeout, "Who Put Bella in the Wich Elm" - The title is based on graffiti scrawled on a tombstone, mockingly inditing a sleepy English community for keeping secrets regarding the decades-old murder of a woman who's skeletal remains were found stuffed in a tree (discovered by children, no less)…now that's worth writing about!!! Thank you for creating this wonderfully artistic soundscape that captures the mystery of the unknown, the sadness of a ghastly and unnecessary killing, and the reverence for the dead that this song demands. It's a journey through the facts of the case. It's a kaddish for the dead. It teaches history in a very creative way. On the other hand, the vocals need a little work. They are out of tune in places, so you ended up maybe drowning some of your excellent words in a little too much reverb to cover that up. Although it lends to the creepiness, I think I would have rather heard the words instead. Thank you for writing it, though. I knew what you were talking about immediately and I loved it.
9. thanks, brain, "I Should Have Told You" - Things we fail to say are not exactly the same as a secret, but okay, I'll let that slide…this is kind of like a conversational note stuck to your ex's fridge in response to her Dear John letter. The music's okay for what it is. Good, melodic background. There's not much emotion to the delivery, though. I'm not really drawn in.
10. With Joe, "Somebody Knows" – Excellent vocals! This whole track is studio quality. And whoa! With stained hands, the murderess Lady Macbeth could have sung it! You don't really flex your poetic muscles enough for me, but leaving specific details out was a good choice for this song. It definitely sounds like a murder mystery, which has me on the edge of my seat and guessing the entire time. You really draw me in with your vocals. I love the small dips and glissandos in your phrasing. It's mesmerizing. The phrases are mimicked here and there by similar dips and slides in the electronic instrumentation. That's really artful. The combination of good electronics and good songwriting is something I associate with Sufjan Stephens' Age of Adz, and I have a lot of respect for that songwriter's exploration of electronic soundscapes. I also love the occasional inserted scream or laugh that jolts me out of my seat a bit. Ambient sounds aren't used enough in musical arrangements. Thanks for sharing this song!
11. The Dutch Widows, "What Does It Matter" – Keeping secrets from the ones we love often leads to the destruction of relationships, a situation where friends must take sides when everything comes out, which further conflates a situation that's already bad. I'm still not quite sure what the secret is here. I'd have to listen some more, and think about it, but not for any lack of linguistic artfulness on your part. The words are intentionally vague, but full of imagery that captures the feeling of the emotional destruction of a relationship collapsing, the result of a secret discovered. The music is subtle, allowing room for quiet speech. Your oration is beautiful. Spoken word can be more musical than singing if it's done right, and you demonstrate that well with this song (the accent helps!). I really enjoyed the drums, the sustained, humming atmospheric guitar feedback, and the harpsichord-like fingerpicked guitar part. It all creates a wonderfully contemplative setting to ponder your open-ended lyrics.
12. rackwagon, "Articles" – I'm not sure what you're trying to say here. "Articles" as in femine and masculine articles, ergo awkward relations between Man and Woman (i.e. political correctness, gender-inclusive speech), or editorial "Articles" as a lost boyfriend might read in Vogue to discover the secrets of the feminine mind? Anyhow, I don't care. There's nothing in this music to keep me listening. This song doesn't make me think or feel, it just leaves me confused. I didn't get it.
13. Governing Dynamics, "Widow's Peak, Kentucky" – Ah, insular, small communities with their gossip and secrets! I wondered if someone would choose this theme. Alas, I grew up in a small town, I live in a small town, and sometimes I would like to burn down a small town for its peculiar sense of justice, mistrust of outsiders, and generational secrets. I totally get this tune and the feeling you capture with it. I'm not sure I can understand the specifics of this particular secret, but the song is more a criticism of a system of secrets than the particular secret you hint at, at least that's my perspective on it. The music is soft enough in relation to the vocals to facilitate communication. Your harmonies remind me of Duran, Duran a little, but your content is far better than theirs. I like it. It makes me feel empathy for all souls lost in small towns and a little hopelessness over human nature, too, but it's good to know I'm not alone in decrying this sort of injustice. Thanks.
14. "BucketHat" Bobby Matheson, "Ease My Mind" –A love song written to your diary? Okay, that's original, but you probably would have benefitted from some brevity. I lost track of what you were trying to say after a while. Musically, the song and arrangement are not very complex, either, or difficult to execute, so that doesn't set you apart much. It's alright, but it's not stellar.
15. Firebear, "The Seeds" – I like the sustained electric guitar harmonies! Lyrically, these are spiritual secrets you're describing, gained from an experience away from everyday life, then planted like seeds in the mind as you return to your mundane life. I think I might rank you guys higher in the future, but this one didn't really grab me. It was more an abstract fable than a real situation. I'm more into realism.
16. Night Sky, "Secret Society" – You're not a spectacular vocalist (Neither am I!) but we all have to work with what we've got. For you, that just means you have to work harder at writing and arranging to impress people, and you did! This is lyrically and melodically a pretty good little R&B tune! I played sax clear up into grad school as a music major, so you really got me with that horn playing and arranging! I'm afraid I don't completely understand the "Secret Society" metaphor, though. Women are a secret society, misunderstood by men? Is that it? For me, I'm not sure that pulls it in close enough for the purpose of the assignment. At least you get another chance! Try writing in a different style of music or musical setting. It might suit your voice better. I've been forced to do that in my own songwriting.
17. Ominous Ride, "Don't Say Anything" – This song is a rallying cry/warning/promise to keep mum about some secret. It's not specific enough for me, though. What secret? There's not even a hint as to what it is. I wanted to hear more about the actual secret, not the promise to keep it. I didn't really like this spin on the idea. It seemed like an easy way out of the assignment. Beyond that, it's good musically, but the overall sound is not that creative to me, either. It smacks of half a dozen eighties hair bands, only without any aggressively high vocals or face melting guitar solos to maintain my interest. Not really my cup of tea, I guess.
18. See-Man-Ski, "Our Little Secret" – A questionable subject, but who am I to judge morality? And having an affinity for old blues songs, I really don't have a problem with macho-centric sex lyrics. Anyhow, the subject matter is controversial enough that I think it may have helped set you apart in my mind. I prefer edgy over boring any day of the week, and it takes a little courage to be edgy, so kudos to See-man-ski! And musically? I think this tune rocked harder than almost any song on the list. That bass tone (synth? fuzz?) had me from the first note and the vocals were a lot of fun. Great stuff.
19. Richard Shakespeare, "Oh No" – There's a lot I like about this and a lot I don't like. I like the background vocals on the chorus, the sudden chord change from verse to chorus and into the bridge, the guitar lead after the bridge (totally awesome licks and tone!), and even your vocal timbre; although your voice had some out of tune moments, the timbre of your voice was alright by me. The words, however, are forgettable, and the "Oh No" chorus got somewhat grating after a bit, and words are generally the most important part for me, so that was a deal breaker. Nice jam song, though.
20. Melody Klein, "Just" – Initially, I didn't think this song fit the assignment very well. I was expecting songs about specific secrets between specific people in specific situations, and this was a more broad and all-encompassing approach. Furthermore, you don't mention the secret until the very end, which is artful, but I didn't understand where you were going with it right away. And yet, I changed my mind after reading the lyrics a few times. After considering the concept, I think your song fit the assignment and was a worthy addition. What you describe is a secret, one that our nation keeps from us, a secret we sometimes might keep from ourselves. This secret is obscured by a lie that many of us are taught in school whilst learning to be patriotic members of a society – We learn that the nation we live in (which could be any nation around the world) is committed to justice and that the powerful are there to protect us and maintain order. To the contrary, though, the petty conflicts created by those in power and imposed on the powerless often cause revolt and anarchy, which results in injustice. It is a secret because it often goes undiscussed. Is there a system of justice for all? Early 20th century anarchists and communists batted the concept around, and maybe even ancient philosophers before them, but it's still worth discussion, today, especially amidst current political events. However, it's difficult to understand your presentation of this complex debate if people can't hear your words. The electronic fireworks of your music are amazing, and although the auto tune on your voice fits the electronic setting musically, it doesn't make for good communication of big philosophical ideas. I wanted to rank you higher, but I couldn't bring myself to do it because I had trouble hearing the lyrics.
21. Star Bear, "A Foreign Language" – What's the secret here? Signs of love from others? Signs of love from yourself to others? I honestly don't know. I'm not sure you communicated the concept very clearly. I think the idea stretches the boundaries of the assignment, anyway. Beyond that, though, the vocals are weak compared to many other entries, as is the musical arrangement. You have an impassioned delivery, though. I can appreciate that.
22. Fluke Wilson, "Corner Store Jesus" – This song is musically primitive, but subtly complex in terms of lyrics and feel. I don't think many people here necessarily understand or appreciate the style you're going for, which is spot on Townes Van Zandt, 1970s Texas singer-songwriter, all the way. If you sang it in tune, it wouldn't be right. If your guitar playing was too fancy, too processed, or sounded like an expensive instrument, it wouldn't be right. It wouldn't capture the hopelessness and self-destruction integral to this kind of Van Zandt blues, and he sang just like this, especially when he was on his legendary benders or strung out on heroin. This is the sound of degradation and poverty. The despair, weariness, and lowliness you channel in this song is hypnotic, and I am wearied by the fakery and veneer of our world every day, so I get it. I don't know if this story is personal in any way, but singing into a tin can while delivering a confession of self-destruction works for me (I'll have to try it out at home now!). I could listen to an entire album of songs just like this, and then listen to them all over again. For some people, that's too raw and visceral. For me, it's realistic, it's the truth, and lyrically, it's the best song of round one. It's on par with Dylan, Van Zandt, Waits, Cash, and all those other legends of American songwriting. Y' got any more? I want to hear you write another one just to make sure this one-off ditty wasn't a fluke, Fluke Wilson.
23. Mandibles, "To Have and To Hide" – I really liked the drama at the beginning of this track, and it filled me with expectation, this Grace Slick "White Rabbit" sort of groove, but as the song progressed I began to realize you overplayed your hand. You have an idea almost too big for one song, and your writing style wasn't up to par enough to handle it. It began with all the promise of an epic, but it ended up just being long. I couldn't follow the story. Even with the lyric sheet, I didn't really care to. Ballad songs are perhaps the most difficult to write, even for the most seasoned songwriters, especially if you're trying to tell a tale with multiple characters. Why not give your characters names instead of a truckload of vague pronouns so no one can tell who's who in this convaluted tale? I can appreciate the music, though. The arrangement has some nice harmonies and instrumental moments, and I totally dug the 1960s Fairport Convention/Jefferson Airplane vibe. I grew up on that stuff, albeit vicariously through my parents' record collection.
24. Regis, "Three Can Keep a Secret (If Two of Them are Dead)" – This is another song that reminds me of The Dead Milkmen or The Violent Femmes, who I would never rank up there with Minor Threat or The Dead Kennedys, because the later two actually had something to say. The reason I mention punk bands, though, is that I associate them with slop, which has its place and can work. In fact, musical slop can convey energy or the persistent desire to get something heavy off of a youthful heart, one that can barely hold it all inside. You have good slop and your song concept made me laugh for a minute, but there are so many great musicians and writers this year that I had to pass on ranking you higher.
25. SunLite, "Secrets" – Like Melody Klein, you're conveying a bigger kind of secret here, one that is overarching and affects us all. That's commendable. That's a higher sentiment in my mind than things left unsaid between ex-lovers or unrequited lovers, which, for whatever reason, seemed to proliferate in response to this assignment. And yet, some of those songs won me over with their musical artistry. I honestly just don't think this is quite up there artistically or musically with some of the other entries. Singing so many "eee" sound rhymes in a row (some of which were rhyming longshots) can be grating to the ears, at least for me. The sound of the syllables can be crucial to making or breaking the vibe of the entire statement, as any good rapper or Beat poet would be able to demonstrate. There was nothing particularly memorable that stuck in my mind about the song, either. If I turn away from it for a minute, I can't even remember the melody, whereas some of these songs have been stuck in my head all week. Like I said in the beginning, though, the overarching secret sentiment was a noble cause. I can give you that, at least.
26. Phlub, "Extrasensory" – Musically, the effects you put on this track negate many of the positive things I could say about it. I do like the overloaded reverb sound sometimes used by Radiohead and, frequently, by Slowdive (especially in their early output), but I can still understand the lyrics of both those artists. Lyrics are crucial to the assignment in a contest like this because they are the primary hurdle by which we are meant to judge your entries, and the bar I have been given for judging good and bad is necessarily informed by your lyrical content, which has been obscured by your music. Also, microtonally out of tune music can be interesting, but here it's a bit abrasive, mainly because of the force with which it is driven out of your overpowering guitar amplification. Again, I like guitar cranked to 11+ (I'm a Fugazi fan) but only when the arrangement allows the words to be understood. It might be cool to experience this live, but I'm not sure that the message comes through here. The question becomes "Do you want to be understood, or do you merely want to shock and awe your audience through brute force?" Where the words are concerned, you would benefit from a little more musical subtlety.
27. marlon, "Tom DeLonge Voice" – Admittedly, I have no framework by which to judge this song. I don't listen to music like this, so take my critique with a grain of salt: I like the refrain "Beautiful night, beautiful dream, beautiful dreamer"/"Beautiful moon, beautiful beams, beautiful dreamer"/"Beautiful heist, beautiful scheme, beautiful schemer". I like the melody, overall, and I like the passion with which you deliver it. The main problem is that I can't really connect this in any real way to the assignment, which was to write a song about a secret. Some of the vocals, too, could use a little more precision pitch-wise (which isn't necessarily a deal breaker for me, but it does put you behind quite a few other people here, at least in my mind). A simple arrangement leaves you with little to hide behind, too, so any musical/sonic shortcomings are glaring in a recording like this. You have a beautiful heart, though, and it comes through in your lyrics and passion. Keep working on fine-tuning your presentation, marlon.
28. L.J.P, "Hero" – This reminds me a bit of the music of the band, Hosier, but the vocals aren't quite as masterful and the lyrics aren't nearly as thought-provoking. It's not a bad tune, and the guitar work and jamming are very enjoyable, but what's the secret? That someone you're honoring is a hero who maybe doesn't know it? I'm not sure that it fulfills the "song about a secret" objective as well as some of the other entries did. That's all.
29. Quazimodo's Balls, "Limited Time Offer" – The vocal effect reminds me of some vocal effects used by the Beastie Boys in the late 1990s, especially on their punk tracks, but I could always understand their lyrics. I can't figure yours out unless I have the sheet right in front of me. The sentiment isn't bad, kind of like Tom Waits' song, "Step Right Up." In a commercial world, charlatans abound with offers that are usually too good to be true. Yep. I think it's a stretch to say this song is about a secret, though. The charlatans always give you the fine print, and most of us have come to expect them to be charlatans, anyway. Musically, it's sloppy, which has its place in this style of music, but only if I can hear what you have to say. Without good communication, it ranks far behind many of the entries, at least for me.
30. Roman Numeral Orange, "Don't Pour It Out" – When I read your lyrics on the sheet, you have quite a few good one liners about keeping secrets, but I can't figure out any cohesive narrative or argument. What are you trying to say? When I listen to your music, I can't make out any of the words. You've created some interesting EDM, but it doesn't communicate much. That's really all I've got.
31. Stephen Weigel, "Hermit" – This submission definitely tests the boundaries of expectation. I realize you come from an academic background specializing in microtonal music (As part of my music education, I was taught theory by composer Peter Terry and performed an experimental piece or two on saxophone for composition students I knew at BGSU's MACCM (MidAmerican Center for Contemporary Music), so I have some experience and appreciation for experimental music. I'm just not sure this is the right forum for your gifts to be fully appreciated. Although you have a wide vocal range and a great sense of pitch, the timbre of your voice reveals that you are not first and foremost a trained singer. I believe you also come from a sphere of thought where lyrics take a back seat to music composition and arranging. I'm not saying your lyrics don't communicate anything. I understand that you are longing to understand the secrets of the hermit and his lifestyle. You could have, however, said it in a simpler way. For me, music is primarily a mode of conveying the emotion of lyrics, poetry, and stories. I am a songwriter who tries to say complex things in simple ways. I think you may have attempted the opposite here. At least, it comes out that way at times. Musically, I like the strange cadences you employ, moving from one tonal center to another in this 19-tone scale. I am flabbergasted that you could even make this work on what sounds like a guitar (is it a guitar?), however, I don't think your music helps the listener experience the lyrics. If anything, the music is a distraction from the lyrics, which are already difficult to understand. I ranked you at the bottom of our list because of this. There's just too much going on in your work for me to value your contribution as a song. I'm not sure I would even call it a song. It definitely took a lot of work, though, and I want you to realize that I see that. It's just too different for me to even rank it here, and I didn't want to push anyone out of the way that had actual songs. Sorry, if I've offended you! I'm not trying to be mean. I'm only trying to evaluate everyone critically in a way that helps them think about and improve their art, and maybe all I've said that's worth anything is that "this is not the right forum for you to be appreciated." Maybe I'm not even the right person to evaluate you, so take my words with a grain of salt. I wish you the best!
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