Celestial Drift - Ok, it’s a heavy riff song. And the jaw harp is cool and unexpected. And I appreciate the live drumming. The song hits me as a bit too literal in its lyrical take on the challenge, and the musical style is a little too on the nose blues rock for me.
Vehicles of Beware - A very attractive acoustic guitar figure sets the tone right. I like the “Funny Valentine/Chim-chimney” descending chromatic line, but I wasn’t expecting going back to the raised sixth afterwards, which works great. Nice doubled lead vocal. Saved from what? The lyric raises a lot of issues hinting at a deep meaning that I can’t get my head around. Great chorus conclusion with the guitar harmonics. Epic bridge! The magnificent coda, again driven by the acoustic guitar, serves as a very satisfying conclusion.
David Taro - I appreciate hearing an unfamiliar scale, but your sixth above the tonic is rather inconsistent, sometimes a true major sixth, often a little smaller. It’s a leap up, the climax of the line and on a strong beat, so the inconsistency is conspicuous and a little distracting. This is very story-driven, so it gets and holds attention. I don’t love the chorus lyrics, but its melody is very catchy and appealing.
Governing Dynamics - Good introduction. Overall, I like the heavy guitars contrasting against the gentle organ and the mechanical sounding drums. The top line of the verse sounds like a vehicle for the lyrics rather than a strong tune in its own right. So I’m drawn to the chorus, which has a well-constructed melody and phrasing.
Joy Sitler - It’s another very strong lead vocal performance. I like the acoustic alt-rock vibe of the accompaniment. This song wants an ending. I recognize that you have tend not to have any introduction or coda to your songs. A feature, not a bug?
Jealous Brother - Good harmonies. Good acoustic lead. Nice ending, albeit a harmonic cliffhanger.
Hot Pink Halo - That’s quite a sermon in your song bio, but considering that there isn’t much here that strikes me as responding to the painting itself, it gives me something to hold on to amidst the abstractions. I quite enjoy the bass line.
Sober - That’s a sweet sentiment in the chorus, sung and harmonized well. Probably the best chorus in the round. Smoking flatpicked guitar and mando! I actually wouldn’t repeat that prechorus line before your final choruses, but it isn’t my song, is it? Really effective end of the repeated final choruses!
This Big Old Endless Sky - I like that your harmonic progression is really just a nice counterpoint with the lead vocal. 1-7-b7-6 . 3-b3-2-1. 1-b7-6-5 (chor). 5-b6-b7-1 (bridge). Sort of inversion of your chorus’ version of the descending motive. Is this a motivic development song about a painting?
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