Here are your Round 1 rankings from SpinTunes 21 Champion Tunes By LJ:
Read on for LJ's reviews!
This was a great batch of songs, varied across genre and approach. I decided against using a scoring algorithm to help with reviews and rankings, but here are some of the areas I found myself fixating on and commenting on:
- Quality: Is the song well-mixed, well-recorded, and generally in tune?
- Performance: Does the song showcase the artist's technical skill and ability?
- Dynamics: Does the song exhibit dynamic variation and evolution over time?
- Lyrics: Is the song saying something interesting, and is it relevant to the challenge?
- Originality: Am I noticing deliberate creative decisions and artistic intent?
▷ - Rain
No one in this competition sounds quite like you, and that’s very much to your benefit. You’ve got a lot of soundspace to explore and own, and you do a damn good job of it here. The lo-fi glitchy percussion is well mixed and perfectly balances the brain-tingling arpeggios and bloops. There’s a lot going on, but it blends nicely - and that’s a tough feat to accomplish. There are so many cool moments in this song, dynamic flourishes, unexpected and delightful chord progression (the white noise calms me doooown). Flawless synth solo to close it out, so delicate and deliberate. I can really tell how much you’ve evolved as an artist just based on what I’ve heard over the last few competitions. The quality of your vocals is still a problem - a nicer microphone would certainly improve things (not trying to pile on, but it is genuinely a bottleneck in the quality of your music at this point). Your melodic instincts are impeccable though, and I love the way you’ve panned the vocal takes to the left and right, a favorite tactic of mine, which helps a lot with blending. You’ve clearly evolved quite a lot with your confidence and command of your voice. Can’t wait to hear more from you.
Falcon Artist - The Sun
This was unfortunately a bit of a drag for me - you have a few factors working against you here. The quality of the recording is poor, which makes it hard to understand your vocals or parse them out from the guitar. The guitar itself is just a smidge out of tune, which may not be an issue to most, but I found it enough of an annoyance to color my experience of the song. Lastly, the performance is quite repetitive - the same strumming pattern, basic guitar chords, not much vocal variety, and lyrics that failed to leave much of an impression. In the future I’d suggest changing your strumming pattern for the chorus to break up the song and give it a bit more texture. Also, try recording guitar and vocals separately so you can have more control over the mix and EQ.
Joy Sitler - Parade
This song was sweet, enjoyable, catchy, and earnest, if a bit unoriginal and safe. I love the way it builds over time with the addition of the bass, double-tracked vocals, the folksy drums, and the satisfying blossom into the chorus, which falls away into a lovely outro. The whole thing is very neat and tidy, following a tried and true formula, with a feelgood narrative that didn’t do much for me. I have very little to critique about your mix, instrumental, vocals, and songwriting instincts, though I did catch you racing ahead of the beat in a few places. All in all this was a tasty snack, but it's one I’ve tasted plenty of times before.
The Pannacotta Army - A New Low
The percussion just immediately jumps out and hooks me - you have an incredibly well-developed sense of style and finesse, and just when I think I’ve figured out your shtick, you bring something new to bear and I find something new to love. This is such a cool and confident song, love the subtle chord progression choices that subvert expectations. The two guitars complement each other perfectly, and the light piano 8th notes help drive the chorus forward with subtle vigor. My only note is that it lacks a little dynamism - as cool as the drums are, perhaps some more variety would add texture and separate out the chorus a bit more. Overall it's another delightful entry from you, easy and breezy. More please!
Cheslain - And The Rain Came Pouring Down
Those guitar chords in the beginning hooked me instantly. The voicings you chose are richly expressive. This is a beautiful song, with a masterfully painted soundscape, especially during the verses. Lots of subtle mixing and production choices that demonstrate proficiency. Percussion is cool and minimalist, complementing the verse well. The second chorus sounds a bit muddy to me with the distorted guitar - a little too much happening in the mid range. Overall a tight cohesive package, with a nice modulation at the end to tie a bow on the whole thing. That distinctive deep voice brings a lot of majesty and personality. Lots to like here, excited to hear more from you.
See-Man-Ski - Popcorn Brain
Really nice layers in the instrumental, everything feels tight and well-balanced. Your vocals get a little lost in the mix during the chorus, overpowered by the percussive elements. Regardless, the pop-pop-popcorn brain refrain is a major earworm - you have solid melodic instincts and your voice is excellent. I just wish it was a little more full and forward in the mix. The lyrics overall are charming, but the “rain” metaphor in the chorus felt a little weak (the fog line made a lot more sense to me). A couple flat notes in that acapella section which otherwise made for a nicely dynamic bridge section. You clearly know your way around a song, not surprised at all that you’re a former champion! Looking forward to hearing more from you.
Stacking Theory - Mordialloc Beach (when the wind is right)
Something I’ve really come to appreciate about your musical output is just how varied it is. I never really know what I’m going to get from you but I always end up loving it. The droning instrumental is just so damn cool - I can’t tell how much of this is midi vs. live instruments, but I do know for a fact that those 8th notes are almost inhumanly crispy and perfectly laid down. The soundscape builds over time with those fuzzy guitar flourishes and fun little synths and beautiful swelling vocals. The only criticism I can give here is that the vocal performance in the first verse is a smidge intense - perhaps a lighter touch would’ve blended a bit better. I’m also not the biggest fan of spoken word interludes, but I suppose that’s mostly a matter of personal preference - it’s certainly well done here. My belief in the stacking theory stands unshaken.
The Moon Bureau - Sweater Weather
You have a very confident sound. You know exactly what you wanted to do here and you delivered it effectively. I will get right to the point though: it sounds almost indistinguishable to the Smiths to me. I mostly mean that as a compliment - if someone put this on in the background and told me that was Morrissey singing I would not even question it. I may simply be a bit ignorant of the nuances and variance within this Britpop style, but I struggle to find the originality here. You are definitely in your own lane with this sound, and you clearly have an impressive command of the genre conventions enough to replicate it almost perfectly. I wish I could hear more deliberate artistry though. Next time I’d love to see a song bio to help me better understand the intended vision. The only technical feedback I have is that your vocal sounds a little out of tune in parts, but maybe that’s part of the genre experience you’re going for and it’s just a little lost on me.
Giraffes for Wings - Impact Winter
This has a lot of potential but is dragged down by the lo fi recording. You clearly have a well-thought out vision here, but it needs a bit more finesse to stand out in a competition like this. You have a clear sense of vocal style, and I really love the story you’re telling - we all have that one family member… Some clever and fun writing that actually oozes charisma despite the grainy texture. I want to hear more from you, but I want to hear it through a better recording setup. I’m trying hard to listen past those limitations to the clearer version of this song that could exist.
Berkeley Social Scene - Waterspout
This was light and fluffy and pleasant overall, but didn’t quite work for me. Reminds me a bit of Weezer - the intro lick is giving Pork and Beans, and the hook reminds me of Blue album tunes, both the guitar and the vocal melodies. Guitar work throughout is solid, though the pre chorus doesn’t hit me quite right - that D minor chord is a little jarring after hearing it as a D major V chord throughout the verse. My biggest complaint here is the vocal mix - it just sounds a little thin and weak, having a hard time breaking through, like it's been over-compressed and missing some important frequency bands on both sides.
Chamomileon - Sleet and Snow
This one didn’t quite get there for me, but had a few parts I really enjoyed. The guitar work is solid - that higher pitched texture balances out the soundscape nicely against your baritone vocals. The faster pace of the lyrics in the chorus evokes passion and momentum, but it also makes me wish the verses had more of that energy. I don’t think the lower harmony in the later section works that well, it sounds a little clumsy and uneven, and out of tune in parts. You have some interesting sound choices in there - I do appreciate a good flanger when used effectively, and I think you’ve done that here. I probably would've cut this song after the first time through that outro, repeating it felt a little redundant. Overall not a bad song, just didn’t really grab me.
Ironbark - I Am A Clear Blue Sky
Your songs read as Art to me in a way that inspires a healthy combination of reverence and jealousy. Living up to the promise of its title, this song contains a lot of empty space, its few components weaving in and out of each other with nimble delicacy. The “cuban lounge” beat has every reason in the world to sound cheesy as hell but not in your capable hands. The lyrics are deliberate and economical, striking a balance between colorful metaphor and emotional gravity, abstraction and specificity, delicately avoiding cliche. The (feminized) other, unstable and volatile, opposite the (masculinized) narrator, stoic and zen-like - on its face a common stereotype - gets cleverly subverted in the final moments, with the narrator’s blamelessness revealed as an abusive withdrawal of emotional connection that the other so clearly craves. Masterfully done, subtle and poignant without feeling pretentious. If I had to give you notes, I’d say the vocal and piano feel a little rushed in certain parts, giving it a bit of an impatient feel, but it's well-concealed by the ambling shuffle of the beat.
glennny - Psychotic Cyclone
This song goes a lot of different directions and all of them are interesting in their own ways. It can be a gamble creating such distinct vibes in each section of a song, but I think you’ve blended them effectively here. You’re clearly having fun with all the guitar bloops and riffs, and the propulsive energy is infections. What's going on with the muffled vocal mix though? Feels like you went a little too hard on compression - the higher frequency bands are missing and it sounds lifeless and muted. I can’t tell exactly what the problem is there but it feels unfinished and undermixed compared to the pristine guitar treatment.
Jeff Walker - And So It Begins
This is a rich instrumental, smooth and well-mixed. I’m not hearing much on either side - it’s all pretty much down the middle, which works well overall. The panned background vocals during the chorus really widen things out in a pleasing way. You’ve got a lovely baritone voice that sits nicely in the mix and carves out space, perfectly blended into the various textures of the instrumental. All in all this felt a little musically safe and plain to me, especially the chorus - I wanted a bit more buildup and tension, but the early return home to the root stalls the momentum a bit. I know you’re capable of more interesting chord progressions and melodic decisions, and I found myself wanting a bit more from you there. The lyrical work is masterful though - many of your fellow contestants attempted a similar metaphor this round, but I found yours to be among the best, covering a lot of symbolic ground without feeling cliche.
West of Vine - Aeromancer
This dragged for me a bit until those distorted slide guitar licks came in on the left and perked me back up. Really nice embellishment, very pleasing to listen to and well performed. I appreciate the gradual dynamic escalation - you’re building up the song over time, filling things out and creating a sense of momentum. Overall though I felt like this song was lacking some cohesion and execution. I can definitely hear what you’re going for with that baritone drawl, but your voice feels a little stretched beyond what it’s capable of, particularly phrases with low notes (in the morning, at the party). The strummed acoustic is serviceable, and the drums are also fine - that blown out kick drum actually works pretty well here. I think the distorted guitar in the last section is probably panned a little too far to the right, feels like it's pulling the center of gravity a bit and throwing off the balance.
Hot Pink Halo - Strange Attraction
I love the “if is then” motif, a nice melodic touch and a great way to take the rather abstract subject matter and ground it in something poetic and musical. You really have a knack for musicalizing the mundane! The instrumental sounds a bit busy for my liking but the component parts are well constructed. The bouncing drums add a nice textured flourish throughout, the snare might be a little hot in the mix but I’m not too bothered by it. The synth on the left during the chorus is neat, but I think that’s what contributes to the “busyness” I’m hearing, especially when balanced on the right by distorted guitar - different sounds are competing for attention and upstaging your vocals a bit. On that note, your vocal performance is a bit halting and pitchy, at times inconsistent and faltering. It certainly infuses your music with personality, but it works better for some songs than others, and I feel it could have used a bit more rhythmic tightening in this one.
Temnere - Seeker Of The Storm
I can’t help but love this! A ripping-hot Maiden-style romp through a fearsome fantasy land, electric guitars galloping and caterwauling, rallying us onward to adventure. I had more fun listening to this than pretty much any other song this round. You’ve done a remarkable job replicating the high points of the genre - that Bruce Dickenson-esque scream at the end had me hooting and hollering with joy. The double-tracked guitar solo hits perfectly, and the double-kick drum sample is dialed in. However, the sum of all these glorious parts… is a power metal song that sounds a lot like every other power metal song. You are very much in command of the genre and sound, but I’m not really picking up on anything that makes it yours. I’m hearing a fun and competent (and unrepentantly corny) facsimile of those who came before, striving for replication and imitation rather than evolution and commentary.
Hutch - Just Standin’ in the Rain
I’m struggling with this one. It’s hard for me to tell for certain that you have no live instruments here, but the guitar solo is unmistakably a midi instrument, with a familiar robotic lifelessness that feels cheap and flimsy. It’s possible to deliver exemplary work without using live instruments, but trying to recreate an effective guitar solo in midispace is a nigh impossible task. In general there’s not much to say about the instrumental, other than highlighting what it lacks: energy, dynamism, variety, momentum. The rhythm guitar and percussion is nondescript, just repeating the same basic chords and beat without much variation. Your vocals are strained and limp, and the lyrics failed to make much of an impact - many entries this round opted to link “bad weather” with “heartbreak,” but I failed to find an original twist or idea here, just familiar bluesy cliches.
The Dutch Widows - Cold, Hard Blackberry Winter
The deep vocals on this one are a nice touch! They are a tad quiet in the mix but it still blends well. Lots of dynamic fluidity, the chorus really stands out, and the chord progression moves around enough to keep things interesting and fresh. You’ve got a knack for packing a lot of lyrics into your songs without making them feel overstuffed. I’m not hearing much to critique about the mix - everything is pretty well settled into its place, and you’ve really perfected that sound. Overall a pleasant song, not particularly exciting, but well mixed and competently delivered. Looking forward to more.
chewmeupspitmeout - Hurricane
This song has a mature and well-developed sound, which is difficult to accomplish with synths and midi alone (I’m not hearing any live instrumentation here). The background vocal work in particular is excellent - super effective use of ooo’s, acting as an instrumental layer or their own, fleshing out the midrange with rich vibrant harmony. As the song unfolds, you continue to add more layers to the mix, especially in the chorus and finale, and the end result feels a bit crowded. I’m hearing at least 6 different synth patches (not including percussion) - while none of them sound particularly odd or out of place, it contributes to a lack of cohesion in the instrumental. Fortunately your vocals do a fine job holding the song together and providing consistency, but I found myself wanting more from the vocal textures and less from the synths.
Cybronica - Grey Skies
This song is haunting, disconcerting, and ultimately quite beautiful. The phrygian scale is not a particularly inviting one, but you’ve used it to great effect in the first few verses, especially given the subject matter. The instrumental is sparse and simple, piano movement and guitar strums serving as the only percussive elements, leaning on the vocals to do the heavy lifting. Your vocals are more than capable of shouldering that burden - beautifully operatic, full-throated, accentuating the haunting notes in the scale. The wind instrument interludes are a welcome respite from the dark emotionality of the verse - is that low notes on a flute? Whatever it is, it's quite beautiful! When the song ultimately resolves into a more familiar minor key soundspace, the chord progression takes the melody on a wistful spin, relishing these more comforting sounds without abandoning the somber aesthetic. You took some risks here and they’ve paid off. Looking forward to more from you.
The Alleviators - Fog
Delicately competent rhythm guitar work, ambling percussion, tasteful synths, wistfully sensual lyrics, and sumptuous vocal harmonies. This is a real feast for the senses, steeped in nostalgia, melancholic and familiar. The doubled vocals work remarkably well - you’ve mixed them perfectly with the instrumental, showcasing a masterful command of the genre and sound. Interesting take on the challenge, very subtle but well executed. The performance has a few shortcomings: certain elements (mostly vocals/guitar) rush ahead now and then, throwing off the smoothness and snapping me out of my reverie a bit. It’s tough to stay patient on a slow song like this. The guitar solo after the first chorus is underwhelming, and comes in a little flat - probably unnoticeable to most but just enough to bug me. Really strong work overall, just needs to be tightened up a smidge across the board.
Winterloper - Frostbitten Hearts
This is a real diamond in the rough. I love the soundscape you’ve created here, with jazzy e-piano 7 chords flowing smoothly between sections and moods. It’s quite minimalist too - you’re delivering a lot of emotion and depth with only a few midi instruments. Some commenters noted a similarity to my own musical style, and as a fellow jazz chord appreciator I’m glad to have you aboard the Spintunes train! Your vocal range between falsetto and baritone is impressive, you’d do well to keep leaning into that. It just needs a bit more polish. The lyrics are a little clumsy at points, like you’re squeezing too many syllables into each phrase. The imagery is heavy-handed, though the focus on the “iciness” of heartbreak nicely compliments the cold detachment of the instrumental. Your vocals are stretched and overtuned, and some of the rhythmic movement in your vocal melody doesn’t quite line up. I’d like to see you tighten the bolts a bit on your next entry, but you’ve certainly got a style that stands out here, albeit one that I’m quite partial to.
Boffo Yux Dudes - Weather The Storm
This song has a good driving energy and a catchy vocal melody, but the drum patch really steals the show. It’s bold to feature a digital plugin like that so prominently, I would normally advise against it, but it actually sounds pretty convincing here, very clean and perfectly EQ’d. The rest of the mix fails to cohere around it though. The guitar feels like it's been compressed and effected into oblivion - I can’t really tell how much is a live instrument and how much is midi, but I want more of it in the mix either way. I do like some of the more subtle synth textures that flesh out the chords, but the high pitched violin thing alongside the loud tambourine shakes in the second chorus just doesn’t really blend at all. The vocals are forced and pitchy, performed with gusto but lacking polish and finesse. The harmonies are nice overall, but those low harmonies under “the weather inside my head” are a little too muddy to have the effect you intended.
SunLite - Glass House
What should be a fun, breezy, perfectly mediocre rock song is dragged down by some pretty glaring intonation errors in the vocals. The instrumental is clean and tight - the rhythmic interplay between the various component parts works well, the mix is solid, good dynamics. The vocals on the other hand are a devastating miss. It sounds like you applied an auto-tune plugin using the wrong scale (chromatic?) or otherwise botched the manual tuning you did, and this song is a pretty tough hang as a result. It’s really a bummer because of how well the rest of the song is put together - the intended melody and rhythm of the vocals is super catchy, especially the “wild fire” pre-chorus. Just 15 minutes of smoothing out those bad notes would increase your ranking with me significantly. In the future when tuning vocals make sure the notes are aligned to the correct scale - if you’re having a hard time doing this by ear, you can usually fall back on visual aids in the DAW to assist with that.
Governing Dynamics - Storm Over The Ocean
Good (well-governed?) dynamic variety here. The rhythmic change in the chorus helps it stand out and give a satisfying feeling of space and arrival after the intense buildup of the pre-chorus. Rhythm guitar tone and performance is dialed in from the outset. You’ve really nailed that washy 90’s alternative sound. Vocals sit nicely in the mix, though a small gain boost couldn’t hurt. Caught a few sour notes that would benefit from some cleanup. Lastly, that guitar solo: though perfectly placed in the song and the mix, it didn’t quite deliver the juice I was hoping for, especially after that impeccable buildup. Lackluster pentatonic noodling, lacking in confidence and finesse - it just doesn’t quite live up to the high standard set by the rest of the song. Overall though this is a fine piece of work, looking forward to more from you.
Menage a Tune - Wind and sand
This is a sad, mournful tune that feels quite personal. The subject matter is devastating, a somber but effective take on the challenge. The song itself is quite simple, there’s not much texture to grab ahold of - your vocals sit a little too far in front of a distant piano, the plunking chords giving just enough structure to differentiate the chorus from the verse. Unfortunately, success in this competition requires more polish and sheen than you’ve provided here. Your vocals are operatic and frail, stretching a bit too far to hit the low notes. It sounds like you recorded this live in a single take, and while it doesn’t sound bad, it’s missing the depth and clarity you’d get from a better setup.
Sober - Back in Texas
You bring such rich personality and authenticity to the lyrics you write. Your songs are a perfect example of how to sound fresh and original without straying too far outside the confines of your genre comfort zone. This is so specific and personal, rippling with disarming charisma - and what a refreshing take on the challenge prompt. Your instrumental chops have been feted by many in prior contests and I’m happy to report that you’ve still got the juice. Performances across the board are flawless, and it's all very neatly mixed and assembled, reflecting the confidence of a seasoned songwriter. I came around on the extra bar after “Maiiiine” - on first listen it felt a little slow but I think you’ve earned that space. As someone who also moved away from Texas with family in Maine I absolutely loved this one (and my dad loved it too!)
Eric Baer - Weather Anomaly
I really like the melancholic chord progression for the verse, and the way you subvert that with a pre-chorus key change that seems to come out of nowhere. I wasn’t expecting that to work as well as it does - it adds freshness without feeling too weird or out of place. Unfortunately that moment (and others) are undercut by a lack of polish on your vocals. The melody comes through a little flat and off-key, which sours an otherwise melodically interesting song. It also drags down the energy level, which isn’t helped by the slow tempo or canned drum loop. The lyrical refrain in the chorus has a great classic feel to it, and sits perfectly within the chord progression. “Chased by a turbulent sky” - what a great turn of phrase. I think there’s a real gem of a song here that just needs to be tightened up and given a bit more life.
Lucky Witch & the Righteous Ghost - Weather Song
This started as a cute, quirky, and sparkly little jam that quickly runs aground on some brutally out-of-tune vocal work in the chorus. I love the premise and the vivid storytelling, the writing is engaging and fun, especially the details you chose to paint this scene. The instrumental is passably lo-fi and aligns well to the twee indie style you’re going for. I went to a lot of shows in college that sounded like this. The vocal performance in the verse actually works quite well! It comes off as a sort of quasi-tonal spoken word style that I found quite charming, at least initially. But the move to the chorus is also an attempt at sustain and intonation, and it fails quite miserably, especially when the 2 part harmony starts. I actually feel for your harmonist here - it sounds like they had a plan for hitting certain notes and staying in key. I can’t say the same for your lead vocalist. It’s important to know your weaknesses and lean into your strengths. Either invest in pitch correction software or just keep polishing that spoken-word style.
Ominous Ride - Nymphorainiac
I did not see this one coming - major points for originality on the weather metaphor. This sounds like an early-aughts Offspring b-side, in theme if not really in sound. I appreciate what you tried to do here, though the execution unfortunately stumbles. The mix across the board is muddy and cluttered - the guitar sounds buzzy and clumsy, and the vocals are missing some clarity, with the end result sounding pretty rough. This genre allows for a certain degree of sloppiness, but usually that’s buoyed by a tight and balanced mix.
Dream Bells - Snowsong
If you showed me this song in like 2008 I would’ve lost my mind and immediately looked up your tour dates. I almost can’t believe how well put together this is for a one-week song. The washy percussion, perfectly panned synth bells in the intro, tasteful effects on the vocals… I can only imagine you’ve been doing this for a while and have this signature “sound” pretty locked in. I can’t really understand what you’re saying without reading the lyrics but that honestly doesn’t bother me much, it works well stylistically and I’m picking up just enough to feel that melancholic snowiness coming through. My only complaint is that the ending is a bit abrupt, though I have no doubt you’d be able to smooth that out with a bit more time. Can’t wait to hear what else you can do.
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